新展预告｜Saehan Parc：Ooo0ohae

Saehan Parc：Ooo0ohae

展期 Duration

2026年8月15日 – 2026年11月1日 

15 Aug. 2026 – 1 Nov. 2026 

展期内每天 12:00-19:00开放(周一闭馆)

accessible between 12:00 - 19:00 (closed on Monday)

艺术家 Artist

Saehan Parc

开幕 Opening

2026年8月15日，星期六，15:00 

Saturday, 15 Aug. 15:00

票务信息 Tickets

学生票20，普通票28（现场购票）

Student ticket 20, regular ticket 28 (buy on-site)

展览地址 Address

浙江省杭州市上城区里太祖湾151号-2 2楼 cuspdot 卡斯普多特

cuspdot, 151-2, 2nd Floor, Litaizu Wan, Shangcheng District, Hangzhou City, Zhejiang Province, China

“Ooo0ohae”在韩语里意为“误解”。本次展览呈现艺术家 Saehan Parc 近年与过往的视觉实践，展期为2026年8月15日至11月1日。

Saehan Parc 的绘画总是从一条线、一个圆形，或一次轻微的偏移开始。她很少预先建立完整草图，而是在不断绘制与修改的过程中，让图像本身自己生长。她?期使用曲线板、椭圆符号尺以及针管笔进行创作，几何线条与手工绘画中的迟疑、偏移和偶然性同时存在。人物的脸、倒影、像螺丝又像面孔的形状、漂浮在空中的植物与物件，在她的绘画中不断发生转化。无论是创作还是观看，都因此变成一种不稳定的过程: 一个形状既可能是苹果，也可能是一张脸; 一个空间既像现实，又像某种尚未被确认的状态。

这种不确定性并非单纯的视觉游戏，而更接近一种长期存在于现实中的经验。长期生活于异国的经历，使她持续关注人与人之间、语言与情绪之间，以及人与环境之间那些无法被完全理解或准确传递的部分。Saehan Parc 将自己称为“误解的收藏者（collector of misunderstandings）”。她并不试图消除这些误差，而是让它们自然地停留在画面之中。那些模糊、未完成与暧昧的区域，因此不再只是缺失，而成为理解、想象与自由得以继续发生的空间。

从早期细线钢笔绘画，到近年来以椭圆与圆形为核心的图像结构，Saehan 的作品逐渐形成一种简单而富有节奏感的视觉语言。不同人物、种族与生命状态在画面中被平等地呈现；与此同时，她也持续关注环境问题与图像生产之间的关系，并在出版实践中尝试寻找更小规模低污染、更可持续的制作方式。在她的作品里，童真与轻盈并不意味着逃避。相反，它们更像是一种面对现实的方法：在意识到环境问题、政治现实、性别经验与日常压力之后，仍然选择以好奇、幽默与开放的方式与世界相处。

游戏并非现实的对立面，而是一种在自由之中感受与思考同时发生的方式。而 Saehan 的作品，某种程度上正存在于这样的状态之中——它既敏感又克制，既理性又轻盈；它不拒绝复杂现实，却仍然保留了用“游戏”的方式与世界相处。于是，在她的画面里，一切都保持着成为另一种事物的可能。即使充满误解，也没有关系。

“Ooo0ohae” means “misunderstanding” in Korean. This exhibition presents a selection of visual works by Saehan Parc from recent years alongside earlier practices, and runs from 15 Aug to 1 Nov 2026.

Saehan Parc’s drawings often begin with a single line, a circle, or a slight displacement. Rather than working from a fully prepared sketch, she allows images to grow through an ongoing process of drawing, revising, and responding. Using French curves, ellipse templates, and technical pens as her primary tools, she brings together geometric precision with hesitation, deviation, and chance. Faces, reflections, forms that resemble both screws and human features, floating plants and everyday objects continuously transform within her drawings. As a result, both making and viewing become unstable processes: a shape may be an apple, but it may also be a face; a space may appear real, yet remain in a state that has not been fully defined.

This uncertainty is not simply a visual game, but something closer to a condition that exists within everyday life. Having spent many years living abroad, Parc has become attentive to the gaps that emerge between people, between language and emotion, and between individuals and their environments—those aspects that can never be fully understood or accurately communicated. She describes herself as a “collector of misunderstandings.” Rather than attempting to eliminate these discrepancies, she allows them to remain within the image. In doing so, blurred, unfinished, and ambiguous areas cease to be signs of absence, becoming spaces where understanding, imagination, and freedom can continue to unfold.

From her early fine-line pen drawings to the ellipse- and circle-based compositions that characterize her recent work, Saehan has gradually developed a visual language that is both simple and rhythmically rich. Different people, ethnicities, and states of being are presented with equal attention throughout her work. At the same time, she remains attentive to the relationship between environmental concerns and image production, exploring smaller-scale, lower-impact, and more sustainable approaches to publishing and making. In Saehan’s work, playfulness and lightness do not signify escape. Rather, they offer a way of engaging with reality: a choice to approach the world with curiosity, humour, and openness, even while remaining aware of environmental issues, political realities, gendered experiences, and the pressures of everyday life.

Play is not the opposite of reality, but a way in which feeling and thinking can coexist within freedom. In many ways, Saehan’s work inhabits precisely this space—sensitive yet restrained, rational yet light. It does not turn away from the complexities of reality, but continues to engage with the world through the spirit of play. In her images, everything retains the possibility of becoming something else. And even when misunderstandings persist, that is perfectly alright.

être et devoir être

Being and Ought to Be

??? ??

存在与责任

(2020)

自 2020 年开始出版的系列第一版。最初于法国斯特拉斯堡创作，并在首尔制作完成。存在还是必须存在，这才是问题所在。我们是否都必须被栽种？

把你自己放进花盆里，看看会发生什么。

The first edition of a series launched in 2020. Originally created in Strasbourg, France, and produced in Seoul. To be and have to be, that is the question. Do we all have to be planted ? Put yourself in the pot, and let’s see what happens.

Quand une femme marche

When a Woman Walks

? ??? ???

当女人行走时

(2020)

自 2020 年开始出版的系列第二版。最初于法国斯特拉斯堡创作，并在首尔制作完成。

当一个女人走在街上时，她脑海里会闪过许多念头。

The second edition of a series published since 2020. Originally created in Strasbourg, France, and produced in Seoul. When a woman walks in the street, many things are happening in and out of her mind.

As-tu re?u mon message?

Did You Receive My Message?

? ??? ??? ?

你收到我的信息了吗？

(2022)

自 2020 年开始出版的系列第三版。最初于法国斯特拉斯堡创作，并在首尔制作完成。

当我给你发消息时，你或许会避开它，但最终它总会找到你。

The third edition of a series published since 2020. Originally created in Strasbourg, France, and produced in Seoul. When I send you the message, you may avoid it, but it will find you in the end.

Recette de la civilisation

Recipe for Civilization

??? ???

文明的配方 

(2022)

自 2020 年开始出版的系列第四版。最初于法国斯特拉斯堡创作，

并在首尔制作完成。

是什么造就了一种文明？通过书页的描绘，展现其构成。

The fourth edition of a series published since 2020. Originally created in Strasbourg, France, and produced in Seoul.

What makes one civilization? An illustration of its composition through the pages.

Nasasik

???

螺丝钉

(2025)

自 2020 年开始出版的系列第六版。作品创作于 2025 年在首尔 Gallery Pokettales 驻留期间，收录了艺术家在乙支路一带遇见的螺丝，最初于首尔创作并制作完成。

“Nasasik”意为“用螺丝制成”，也是由柘植義春创作的一部漫画的标题。

The sixth edition of a series published since 2020. Created during a 2025 stay at Gallery Pokettales in Seoul, it gathers screws encountered around the Euljiro area. Originally created and produced in Seoul.

“Nasasik” means “made with screws”, and also the title of one of the comics of Tsuge Yoshiharu.

Lecture

??

讲座

(2025)

自 2020 年开始出版的系列第七版。收录了于 2024 年 8 月在《纽约时报》连续刊载一个月的插画作品。最初于首尔创作并制作完成。

阅读很好，即使在最糟糕的条件下也是如此。

The seventh edition of a series published since 2020. It features illustrations serialized in The New York Times throughout August 2024. Originally created and produced in Seoul. Reading is good, even in the worst condition.

Don’t pour too much

?? ?? ???

别倒太多

(2020)

14th edition in the series “Jjokk press graphic novel : LOVE BUNGLERS”

《????漫画系列：LOVE BUNGLERS》第14版

105 x 153mm, 16 pages, South Korea

我很高兴能拥有属于自己的东西。

我慷慨地浇灌它，把它当作自己。

忙碌的时候，我感觉自己不像自己了。

再次给坐在那里一动不动的孩子倒水。

Having one's own things is really nice.

I was regarded as myself and received abundant love.

When I was busy, those things that were not considered mine before,

once again poured water for that child who was sitting quietly there.

Papa ballon

????

爸爸气球 (2021)

48 pages, 18 x 17.5 cm

Doremi Books, Angleterre, 2026

Goat (Jjokk press), Corée du sud, 2022

Editions 2042, France, 2021

China, 2025

有一天，所有的大人突然都变成了气球。

再也没有爸爸阻止 Hana 吃冰淇淋了，取而代之的是一个气球；

再也没有奶奶照料番茄生长了，取而代之的也是一个气球。

Hana、Camille、Klaus 和 Lucas 牵着他们的“气球爸爸”四处走着——这些

气球爸爸面对尽情享受自由的孩子们，既无能为力，又束手无策。

一阵风吹过，气球便飞走了！

Hana虽然会对自己的气球爸爸发脾气，但当他真的飘向天空时，她却害怕极了。

当所有气球爸爸重新变回真正的爸爸时，她也是第一个感到欣喜的人。

One day, all the grown-ups suddenly turn into balloons.

No more dad to stop Hana from eating ice cream—only a balloon. No more grandma to help the tomatoes grow—only a balloon. Hana, Camille, Klaus, and Lucas walk around with their Balloon Dads floating beside them: helpless, powerless Balloon Dads watching as their children delight in this newfound freedom.

One gust of wind—and the balloon floats away!

Although Hana gets angry with her Balloon Dad, the moment he drifts off into the sky, she realizes just how frightened she is. So when all the Balloon Dads become ordinary dads again, she is the first to celebrate.

Bibimbap

??? ?? ???

拌饭 (2025)

18 x 18 cm

Editions 2042, France, 2025

放学回到家，妈妈还没有下班，还有什么能比冰箱上贴着一张写满亲吻的便利贴，以及一顿用心准备好的饭菜，更让人感到安心呢？

一大碗米饭、几样调味料、你最喜欢的蔬菜，再加上一颗煎蛋，就完成了。简单、香气四溢、丰盛满足，拌饭就像一个温暖的拥抱。

它是最具代表性的韩国家常料理，即使一家人无法相聚，也依然能够将彼此联系在一起。

When you come home after school and your mother is still at work, what could be more comforting than finding a Post-it covered with kisses on the refrigerator and a meal lovingly prepared just for you?

A big bowl of rice, a few seasonings, your favorite vegetables, and a fried egg—that's all it takes. Simple, fragrant, and satisfying, bibimbap is like a comforting companion. It is the quintessential Korean dish, one that brings the whole family together… even when they aren't there.

Coucou Sommeil

??? ???

再见了，睡眠。(2024)

32 pages, 25 x 20 cm

New York Review Books Kids, les E?tats-Unis, 2026

Munhakdongne, Corée du sud, 2024

Editions 2042, France, 2024

你好，睡眠，是我，又见面了。还记得吗？我们约好了。

睡眠如此温柔、如此可爱，让人忍不住将它拥入怀中，与它相依，沉沉睡去，度过漫长的一夜。

Hello, Sleep, it’s me again. Remember? We had a date.

Sleep is so sweet and endearing that all we want to do is hold it tightly in our arms and spend the whole night by its side, fast asleep.

绘画

Drawing

*本次展览原作均可售卖。如需了解作品价格及收藏详情，请添加微信 cuspdot，或联系现场工作人员获取完整作品售卖清单。

Selected original works in this exhibition are available for purchase. For prices, purchase details, or the complete list of available works, please add us on WeChat at cuspdot or speak to a member of staff.

1.

Saehan Parc的分享会

Artist Talk: Saehan Parc

Saehan Parc也会出现在卡斯普多特(o^^o)！

很多 Saehan Parc 的作品，都来自生活中那些很小的误会：一个物件看起来像另一个物件、一句话被理解成另一句话、一张画不断变化，最后变成了新的故事。在这场分享中，她将介绍自己如何从日常观察开始创作，如何收集图像、制作绘本、漫画与艺术家书，并分享她近年来关于「误会」「圆形」「家庭」「纸张」等主题的创作过程。分享结束后将开放交流，一起讨论偶然发生的误解，如何成为创作的开始。

Saehan Parc is coming to cuspdot! (o^^o)

Many of Saehan Parc’s works begin with small misunderstandings from everyday life: one object resembles another, a sentence is interpreted differently than intended, or a drawing gradually transforms into an entirely new story. In this artist talk, she will share how her practice grows out of close observation of daily life, introducing her process of collecting images and creating picture books, comics, and artists’ books. She will also discuss the ideas behind her recent works, exploring themes such as misunderstanding, circles, home, and paper.

Following the talk, there will be an open conversation where everyone is invited to ask questions and exchange ideas. Together, we will explore how small moments of misunderstanding, coincidence, and everyday observation can become the starting point for artistic creation.

2.

行走和发现圆形

Walking & Finding Circles

卡斯普多特附近就是杭州的八卦田。从玉皇山俯瞰，八卦田呈现出一个十分规则的几何图案：八块扇形农田围绕着中央的圆形，如同一个只能从空中才能完整阅读的巨大符号。也因为这样的形状，它偶尔会被拿来与麦田怪圈（Crop Circles）相提并论，甚至被我们开玩笑称作「外星人基地」。（笑）

受到 Saehan Parc 对圆形、日常物件与观察方式的启发，我们将从展厅出发，在八卦田周边展开一次缓慢的散步。我们尝试寻找那些平时不会特别注意的圆形：井盖、树轮、车轮、杯盖、路牌、石头、植物、食物……我们将通过拍照、绘画、记录与收集，把这些城市框架里的圆形重新整理，并尝试按照自己的方式分类、命名，最终共同完成一张属于这次散步的「圆形地图」。

cuspdot is located just beside Hangzhou’s Eight Trigrams Fields (Bagua Fields). Viewed from the top of Yuhuang Mountain, the fields form a remarkably precise geometric pattern: eight fan-shaped plots surrounding a central circle, like a giant symbol that can only be fully read from above. Because of its unusual appearance, it is sometimes compared to crop circles—and we jokingly like to call it our “alien base.” (Haha!)

Inspired by Saehan Parc’s fascination with circles, everyday objects, and ways of observing, we will set off from the exhibition space for a slow walk around the Bagua Fields. Together, we will search for circles that often go unnoticed: manhole covers, tree rings, wheels, cup lids, road signs, stones, plants, food, and more. Through drawing, photography, note-taking, and collecting, we will gather these circles scattered throughout the city's landscape, reorganize them, and invent our own ways of classifying and naming them. By the end of the walk, we will create a collective “Map of Circles” that records not only what we found, but also how we chose to see the world.

3.

卡的夜校：画画圆形的家庭物件

Night School: Drawing Round Objects from Home

合作者：一文

Collaborator: Yiwen

Saehan Parc 的作品总是围绕着家庭中的日常物件展开：盘子、杯子、镜子、按钮、时钟……这些看似普通的物件，经常以圆形作为起点，在她的绘画中不断变化、组合与延伸，成为新的角色、新的空间，以及新的故事。对于她而言，绘画并不是复制眼前的物件，而是一种不断观察、联想与误解世界的过程。

在这个工作坊中，我们邀请每位参与者从家里带来一件日常生活中会用到的圆形家庭物件。大家将一起练习观察、描绘、思考、联想与乱涂乱画，从一个简单的圆形开始，让它不断发生变化：也许变成另一件物品，也许变成一个角色，甚至成为一段故事的开端。所有随心所欲的速写没有正确答案，我们将一起体验物件如何在想象中不断生长，并重新认识那些每天都会看到，却很少认真仔细观看的日常物件。

Saehan Parc’s works often begin with familiar objects from everyday domestic life—plates, cups, mirrors, buttons, clocks… These seemingly ordinary things frequently start from the simple form of a circle, gradually transforming, combining, and extending into new characters, new spaces, and new stories. For Saehan, drawing is not about faithfully reproducing what she sees, but about observing, associating, and gently misunderstanding the world.

In this workshop, we invite each participant to bring a round household object that is part of their everyday life. Together, we will observe, draw, think, imagine, and freely sketch, allowing a simple circle to continuously transform—perhaps into another object, a character, or even the beginning of a story. There are no right or wrong answers in these spontaneous drawings. Instead, we will experience how ordinary objects grow through imagination, and rediscover the everyday things we see all the time, yet rarely take the time to truly look at.

4.

分享和交换食谱并且吃掉他们

Recipe Exchange & Eat Together

食物不仅是食物，也是关于家庭、记忆与文化的故事。在 Saehan Parc 的出版物《Bibimbap》中，料理本身也记录着人与人之间的关系、生活经验，以及关于家的想象。受到 Saehan Parc 的出版物《Bibimbap》的启发，我们邀请每位参与者带来一份属于自己的食谱——可以是出现在餐桌上的拿手菜，也可以是一段失败的料理、一份不会做完的食谱、一道已经遗忘的味觉。大家将彼此交换和绘制食谱，一起阅读、分享，并共同制作、品尝其中的一道料理。食谱将在交换与讲述中不断变化，成为人与人之间新的连接。

Food is never just food—it is also a story about family, memory, and culture. In Saehan Parc’s publication Bibimbap, cooking becomes a way of recording relationships, everyday experiences, and ideas of home. Inspired by Bibimbap, we invite each participant to bring a recipe of their own. It could be a signature dish shared around the family table, a recipe that has failed many times, one that has never quite been completed, or even the lingering memory of a forgotten taste.

Together, we will exchange, illustrate, read, and share our recipes, allowing stories and images to unfold through conversation. We will then prepare and enjoy one of the dishes together. As recipes are exchanged, drawn, retold, and reimagined, they become something more than instructions—they become new connections between people.

Saehan Parc 于1989年2月4日出生于韩国漫画之城—富川（Bucheon），现生活并工作于法国斯特拉斯堡。

她创作漫画与儿童绘本，已出版三本儿童绘本，并被翻译成多种语言发行。她的插画作品曾刊登于《纽约时报》（The New York Times）、《彭博商业周刊》（Bloomberg Businessweek）等媒体，也曾在各类展览和艺术书展中展出。怀着强烈的好奇心，她热爱绘画，也希望让更多人产生拿起画笔的冲动。她同时也是韩国女性视觉艺术家团体 Louise the Women 的成员。

Saehan Parc Born on February 4, 1989 in Bucheon, a city of comics, in South Korea, Saehan lives and works currently in Strasbourg, France. She writes and draws comics and children's books, her three children's books are published in multiple languages. Her illustrations can be found in newspapers such as The New York Times or Bloomberg Businessweek, and in exhibitions and art book fairs. Curious, she likes to draw and make people want to draw. She is also a member of Louise the Women, a women’s visual artist collective of Korea.

“我绘画、创作漫画和图画书，偶尔也会制作小册子。

在这个世界里，有无数事情发生着，却无法被理解；同样多的事情也悄然流逝，从未被人真正领会。有时，我会想象这些瞬间不断叠加，最终形成某种地平线，而我则站在它面前，恍惚不已。从这地平线的彼端，我收集那些因试图理解却未能完全领悟而产生的小小误解，并将它们一一记录在纸上。

这一过程让我联想到与物体相处的方式：无论它们原本是什么样，我都赋予它们名字，与之建立起个人的联系。正如一个物体可以同时拥有多个名称，我画出的椭圆也会在不同的身份与角色之间穿梭，关系不断变化，直到最终融入一幅画面的故事之中。  当我作画时，我会用几何形状来克制思绪的即兴性，逐步将叙事固定于纸页之上。细密而均匀的线条或许像数字矢量图像，但柔和的马克笔色调使画作与纸张的质感紧密相连，留下手工创作的温暖气息。”

“ I draw, make comics and picture books, and occasionally create zines.

In this world, countless things occur that cannot be understood, and just as many pass by without ever being understood. At times I imagine these moments piling up until they form a kind of horizon, and I find myself standing before it in a daze. From within that horizon, I gather the small misunderstandings born from trying and failing to comprehend something, and I place them onto paper.

This process resembles the way I relate to objects: regardless of their original nature, I give them names of my own, forming personal relationships with them. Just as one object can hold multiple names at once, a single ellipse I draw moves between different identities and roles, shifting relationships until it eventually settles into the story of a picture.When I draw, I temper the spontaneity of my thoughts with geometric shapes, gradually anchoring the narrative onto the page. The thin, consistent lines may resemble digital vector imagery, yet the soft marker tones bind the drawing to the texture of the paper, leaving behind the warmth of something made by hand.”

关于平面设计 About the graphic design

Xiaoyuan Gao是一名平面设计师，字体设计师以及notyourtypefoundry的创造者，目前生活在荷兰鹿特丹。她的作品探索实用性和趣味性之间的关系，视觉上常以不均匀的方式呈现。

Xiaoyuan Gao is a graphic and type designer and the founder of notyourtypefoundry, currently based in Rotterdam, the Netherlands. Her work often explore the possiblity between playfulness and practicality, usually presented in imbalanced way. She’s good at finding hidden connections between things and linking them with curiosity and a sense of fun.

关于卡斯普多特 About cuspdot

卡斯普多特是在杭州的?盈利空间，我们组织展览，工作坊以及其他活动。

cuspdot is a non profit space in Hangzhou where we organize exhibitions, workshops, and other activities.

小红书/微博/公众号/淘宝：卡斯普多特

Website: cusphangzhou.cargo.site

Instagram: cusp.hangzhou

Saehan Parc 黄色圆形玻璃水杯

Saehan Parc Yellow Round Glass Tumbler

尺寸 Size: 8.5*8.2cm

材质 Materia：高硼硅玻璃 High Borosilicate Glass

*冷热通用，微波炉适用。

*Suitable for both hot and cold use. Microwave-safe.

Saehan Parc 游乐园笔记本

Saehan Parc Playground Notebook

尺寸 Size: 21*14.8cm, 80p

工艺 Process：双面印刷/线圈裝 Double-sided printing/Coil binding

Saehan Parc Ooo0ohae 笔记本

Saehan Parc Ooo0ohae Notebook

尺寸 Size: 21*14.8cm, 80p

工艺 Process：双面印刷/线圈裝 Double-sided printing/Coil binding

Saehan Parc 植物纸胶带

Saehan Parc Plant Japanese Paper Tape

尺寸 Size: 20mm*5m

材质 Materia：和纸胶带 Japanese Paper Tape

*无离型纸 循环长度为：22cm

*No release paper. Repeat length: 22cm.

Saehan Parc 阅读纸胶带

Saehan Parc Reading Japanese Paper Tape

尺寸 Size: 20mm*5m

材质 Materia：和纸胶带 Japanese Paper Tape

*无离型纸 循环长度为：38cm

*No release paper. Repeat length: 38cm.

Saehan Parc 游乐园闪闪圆形贴纸

Saehan Parc Playground Sparkly Round Sticker

尺寸 Size: 100mm*140mm

材质 Materia：闪膜贴纸 Holographic Sticker

Saehan Parc 树系列异形贴纸 a款 b款

Saehan Parc Tree Series Die-Cut Sticker  a&b

尺寸 Size: 异形约为80mm/每款6个。

Die-cut, approximately 80 mm. 6 stickers per design.

材质 Materia：树纹纸 Woodgrain Paper

Saehan Parc Riso 版画 a款 b款 c款

Saehan Parc Riso print a&b&c

尺寸 Size: 297*420mm

工艺 Process：Riso 4色印刷 Four-Color Risograph Printing

更多商品信息和购买渠道

More product information and purchase channels

线下：展厅现场

浙江省杭州市上城区里太祖湾151号-2 2楼 cuspdot 卡斯普多特

线上：

小红书/淘宝店铺：cuspdot 卡斯普多特

最后的最后 Last but not least：

开幕当天 15:00-19:00 会有dj演出活动^_^

我们线下见面！

开幕dj：Nla

现在你选择我和所有声音一起穿越过我另一个肩膀

Now you choose me to cross my other shoulder with all the sound

开幕酒水赞助

Opening Drinks Sponsor

TASTEROOM风味屋，2015年创立于杭州的国产精酿酒饮品牌。一群专注于好喝好玩的酒饮生活家，中国风味酒饮的先行者。为中国市场酿造有品质与品味的酒饮产品，用一瓶酒给你带来一整天的快乐。

展览Riso合作

Exhibition Riso Collaboration

2020年，泥巴印制MUDpress成立于杭州，我们致力于营造Risograph?年文化社群，分享、推广普及印刷装帧工艺，让独具创造的每个人自我表达的同时彼此看?和联结。

脚踩在地上，要是脚底有泥巴的话，走路就会留下很多痕迹。好像大地是纸，鞋子就是版，泥巴就是油墨，那样的话一个人每走过一个地方就是在创作。

Saehan Parc: Ooo0ohae

卡斯普多特 cuspdot

浙江省杭州市上城区里太祖湾151号-2

2026.8.15 - 2026.11.1 6/7

策划和统筹：葛睿璟，黄懋冰

视觉设计：Gao Xiaoyuan （not your type foundry）

实习生与志愿者（Space Support）：楼静怡，刘哲荃

实习生与志愿者（Operations & Support）：张晶晶，吴宝怡，倪武涵，张艺馨，陈易和，李宛阳，沈欣媛，

致谢：一文，金辉，海燕阿姨，山红枫师傅，蓝蓝 ，朱梦琦，秦汉

Curated by Ge Ruijing, Huang Maobing

Visual Design Gao Xiaoyuan (Not Your Type Foundry)

Interns & Volunteers (Space Support) Lou Jingyi, Liu Zhequan

Interns & Volunteers (Operations & Support) Zhang Jingjing, Wu Baoyi, Ni Wuhan, Zhang Yixin, Chen Yihe, Li Wanyang, Shen Xinyuan

Special Thanks to Yiwen, Jinhui, Auntie Haiyan, Master Shan Hongfeng, Lanlan, Zhu Mengqi, Qinhan