Unknown Image Series no.8 #2 鈴木のぞみ「Light of Other Daysー土星の環」
Nozomi Suzuki "Light of Other Days - The Rings of Saturn"
void+では、Unknown Series no.8 #2 鈴木のぞみ個展「Light of Other Days-土星の環」を7月31日より開催いたします。本シリーズ2回目となる鈴木は、何気ない日常の事物に潜む潜像のような記憶の可視化を、写真の原理を通して試みています。その作品は静かで控えめでありながら、写真の本質をとらえた独自の構造と豊かさ、広がりがあり、見る人の想像力に働きかけます。
近年は、東京都写真美術館、埼玉県立近代美術館、MOTサテライトなどの国内の主要な美術館や場で発表を続け、昨年は、ポーラ美術振興財団在外研修員としてイギリスのロンドンとベルファストに滞在していました。この地で鈴木が出会ったアンティークの眼鏡や舷窓、そして、ベルファスト出身のSF作家であるボブ・ショウやイギリスを旅したドイツの作家W・G・ゼーバルトの書物からインスピレーションを受けた本展は、帰国後初の個展となります。
また、今回は、埼玉県立近代美術館学芸主幹の梅津元氏をゲストに迎え、作家にメールインタビュー*を行います。Unknownシリーズにおいては初の試みとなります。この記録はvoid+のHPで後日発表予定ですので、個展をご覧になるとともに、ぜひお読みくださいますようお願いいたします。
(*大変申し訳ございませんが、予定されていたトークイベントは、感染症流行のため中止となりました)
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<展覧会概要>
■タイトル:Unknown Image Series no.8 #2 鈴木のぞみ「Light of Other Days-土星の環」
■会期:2020 年7月31日(金)— 8月21日(金)14:00-18:00
■メールインタビュー:鈴木のぞみ+ 梅津元(埼玉県立近代美術館学芸主幹/芸術学)
■会場:void+ 東京都港区南青山3-16-14, 1F
■定休日:日、月、祝日
■お問合せ:
[email protected]
[主催]void+/Unknown実行委員会
[企画]カトウチカ
[協力]rin art association/Pola Art Foundation
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Light of Other Days -土星の環 について
イギリスで過ごした日々の中で、写真の黎明期とともに発展したヴィクトリア朝とそれ以降の土着的な文化において、人々のまなざしを拡張した事物の潜在性を顕在化したいと思索していた。
展覧会タイトルの《Light of Other Days》は、ベルファスト出身のSF作家であるボブ・ショウによって1966年に書かれた短篇から引用している。物語の中に登場する、過去の光を遅れて届ける魔法のガラスである〈スローガラス〉という発明品は、それ自身が写真そのもののようである。
《土星の環》は、晩年を東イングランドで過ごしたドイツの作家 W・G・ゼーバルトによって1995年に書かれた書物のタイトルから引用した。脱線と連想を繰り返しながら、ヨーロッパ帝国主義の史実と文学への思索による断片が、イギリスの地を巡礼するゼーバルトの足どりとともに散りばめられ、記憶を想起するような書物だ。
私はこれらの書物を参照し、事物に残された痕跡からその来歴を辿ることを試みた。かつての人々の営みへと想いを馳せ、事物に宿る記憶のようなまなざしを写真によって可視化してみたい。〈スローガラス〉を通してそれぞれの事物が孕む小さな物語と私たちのまなざしが交叉し、新しい物語が紡がれる場となることを願って。
(2020年6月 鈴木のぞみ)
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まなざしの余白
展示空間には、円形のまなざしが浮遊している。窓、眼鏡、ルーペ、カメラ・オブスクラ、望遠鏡、そして人間の双眸……。
それらは何を見てきたのか。鈴木の紡ぎだす空間は、それ自体がカメラの構造を孕んでもいる。そこでは、時間と光に関わる事物のイメージ、形、物語が浮遊しながら連鎖する。
本来、生命も意思も持たないはずの事物が、感光性を与えられ、身体とまなざしを獲得する。客体であったはずのものが主体となる。その透明なまなざし。これらの蒐集された事物を使っていた人々は、すでにこの世界にいない。だが、人とは別の時間を蓄積してきた事物はまだそこに残っていて、かつてそこにあった風景や物語のかけらを写し出し、見る人の感情を揺さぶる。過去の光と影、言葉を写した一片は、人々を果てしない時間の旅に誘う。空間を訪れた人々の間で共有されながら、その内面で個々に変化する物語。小さき事物のまなざしの余白は、見えざるイメージと物語で満ちている。
死者、生者、事物、空間、時間、光、あらゆるまなざしと記憶が交錯する場で、私たちはその中の一粒となり、全体ともなるのだ。
カトウチカ(Unknown Series キュレーター)
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鈴木のぞみ SUZUKI Nozomi
1983年 埼玉県生まれ。東京藝術大学大学院 美術研究科 博士後期課程在学中。何気ない日常の事物に潜む潜像のような記憶の可視化を、写真の原理を通して試みている。現前しているが不在であるという性質を持つ写真を事物に直接定着することで、写真に触覚的な身体のようなものが付与され、過ぎ去りゆく時をいまここに宙づりにする。近年の主な展示に「あした と きのう の まんなかで」(はじまりの美術館、2019)、「MOTサテライト2018 秋 うごきだす物語」(清澄白河、2018)、「無垢と経験の写真 日本の新進作家vol.14」(東京都写真美術館、2017)、「NEW VISION SAITAMA 5 迫り出す身体」(埼玉県立近代美術館、2016)など。受賞歴多数。平成30年度ポーラ美術振興財団在外研修員としてイギリスにて研修。
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梅津元 UMEZU Gen
埼玉県立近代美術館学芸主幹。専門は芸術学。同館での主な企画(共同企画を含む)に「DECODE/出来事と記録ーポスト工業化社会の美術」(2019)、「版画の景色 現代版画センターの軌跡」(2018)、「生誕100年記念 瑛九展」(2011)、「アーティスト・プロジェクト:関根伸夫《位相ー大地》が生まれるまで」(2005)、「ドナルド・ジャッド 1960-1991」(1999)、「<うつすこと>と<見ること>ー意識拡大装置」(1994)など。ギャラリーαMでの企画に「トランス/リアルー非実体的美術の可能性」(2016-17)がある。美術手帖や展覧会カタログなどに寄稿多数。
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<Unknown Image Series no.8 展覧会>
未知のイメージを創出する
イメージが持つ力と本質を探り、未知のイメージを創出する。
この世界においては、日々膨大なイメージが生まれては消えていくが、ときに稀有なイメージが出現する。今回の参加アーティストは、三田村光土里、横山奈美、鈴木のぞみ、山元彩香、庄司朝美��5名。連続する個展の形式をとる。各回のトークイベントとテキストのゲストには、光田由里、梅津元、飯田志保子、中村史子、中尾拓哉らを招く。 シリーズの終了後にはバイリンガルの記録集を制作し、本というメディアにおいても新たな表現の展開をはかっていく。
女性たちがつくるイメージ
Unknown Imageのシリーズは、イメージをテーマに、今、注目すべきアーティスト一人一人の作品とその世界を深く掘り下げ、その可能性をさらに見出していく場でもある。今回は、はからずも全員が女性アーティストとなった。
初回の山元彩香は、言葉の通じない国で神秘的なまでの美しさと暴力性をもつポートレートを撮影する。被写体の名前や意識すら剥ぎ取り、空の器にしようとしても残るものとはなんなのか。鈴木のぞみは、写真や時間の原理の静かな探求者である。生命なき事物に「視線」と「記憶」を出現させ、写真に身体のようなものを与える。横山奈美は、絵画の大きな歴史と私的な小さな歴史を交錯させ、日常の取るに足らないものたちの美しさや、明るく輝くものの背後にある存在を描き出す。庄司朝美の描線は、舞台のように見る人を引き込む物語性と、生命と死のエネルギーに満ちた身体的絵画空間をつくり出す。三田村光土里は、このシリーズではもっともキャリアの長いアーティストである。ごく私的なイメージや言葉の数々は、写真、映像、オブジェ、ドローイング、インスタレーションとなるが、それらは個人の物語やアートの枠組みを越えて普遍性を帯び、見る人の心を捉えて離さない。そして、ゲストは性別や年代は幅広いが、いずれも芸術の発生の現場において、極めて優れた批評の言葉を紡いできた方々である。
美術史において、かつて周縁の存在であった女性アーティストたちは、今、最先端にいる。彼女たちがつくるイメージはどのようなものなのか。なぜそれを生み出さねばならなかったのか。参加者の出自やキャリア、テーマ、歴史や現在の状況との向き合い方、その目指すところも様々である。だが、彼女たちの存在と彼女たちがつくるイメージは、それぞれに強く鮮やかだ。その未知のイメージは見る人を深く静かに揺るがし、世界に多様な変化を生み出す力ともなっていくだろう。
カトウチカ
<Unknown Image Series no.8 今後のスケジュール>
#3|庄司朝美 [会場/会期]未定
ゲスト:光田由里(DIC川村記念美術館学芸員)
*開催を予定していたHIGURE 17-15 casですが、新型コロナウイルス感染症を考慮した上、当面の間休廊することとなりました。新しい会場と会期が決まり次第、発表いたします。
#4|横山奈美 [会場]void+
2021年5月(予定)
ゲスト:飯田志保子(キュレーター)
#5|三田村光土里 [会場]HIGURE 17-15 cas
2021年(予定)
ゲスト:中尾拓哉(美術評論家)
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Unknown Image Series no. 8 #2 “Light of Other Days – The Rings of Saturn,” an exhibition of work by Suzuki Nozomi, will open at void+ on July 31. In this second exhibition in the series, Suzuki endeavors to render visible by means of photographic principles the memories, akin to latent images, that dwell in mundane, everyday objects. These works may be calm and understated, but their unique structure, richness, and expansiveness, which together capture the essence of photography, mean they are sure to fire the viewer’s imagination.
Recent years have seen Suzuki present work in major museums and other venues around Japan, including the Tokyo Photographic Art Museum, Museum of Modern Art, Saitama, and MOT Satellite, and last year she also spent time in London and Belfast on a POLA Art Foundation overseas study grant. This exhibition inspired by the antique spectacles, portholes and similar objects Suzuki encountered during her stay in the UK, plus books by Belfast sci-fi writer Bob Shaw, and the German author W.G. Sebald, who traveled around Britain, will be her first solo show since returning to Japan.
In a first for the Unknown series, there will also be an email interview* with the artist, courtesy of Umezu Gen, curator at the Museum of Modern Art, Saitama. A transcript of the interview will be posted at a later date on the void+ website, as an informative accompaniment to the exhibition.
*We regret the scheduled talk event has been cancelled as a measure against COVID-19 transmission.
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<Exhibition>
■Title: Unknown Image Series no.8 #2 SUZUKI Nozomi “Light of Other Days-The Rings of Saturn”
■Exhibition Period: 2020.7.31(fri) — 8.21(fri) 14:00-18:00
■Email Interview: SUZUKI Nozomi + UMEZU Gen(Curator, The Museum of Modern Art, Saitama / Art Studies)
■Venue: void+ 3-16-14, 1F, Minamiaoyama, Minato-ku, Tokyo
■Closed: Sundays, Mondays and holidays
■Inquires:
[email protected]
Organized by void+/ Unknown executive committee
Curated by KATO Chika
In cooperation with rin art association / Pola Art Foundation
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About “Light of Other Days – The Rings of Saturn”
During my time in the UK, I mused on the idea of revealing latent images of objects that have served to expand the human gaze, in the context of the vernacular culture of Britain since the Victorian era, a period in which the nation’s development coincided with the dawn of photography.
The title of the exhibition, “Light of Other Days,” is taken from a short story written by Belfast sci-fi author Bob Shaw in 1966. The magical “slow glass” of the story, an invention that delivers delayed light from the past, could for all the world be photography itself.
“The Rings of Saturn,” meanwhile, is borrowed from the title of a 1995 work by German author W. G. Sebald, who spent his later years in the east of England. Sebald’s English pilgrimage is accompanied by scattered snippets of thought; meditations on the true history of European imperialism, and on literature, laced with digressions and connections, as if recalling memories.
Using these works for reference, I attempted to trace the history of objects from the marks left on them. Turning my thoughts to the endeavors of past people, my aim is to use photography to render visible the memory-like gaze that dwells in objects, in the hope that through “slow glass” the little narratives filling each of these objects will intersect with our gaze, and create settings for the spinning of new stories.
(SUZUKI Nozomi, June 2020)
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A blankness of gaze
Circular gazes—windows, eyeglasses, magnifiers, camera obscura, telescopes, and pairs of human eyes—float in the gallery space.
What have they seen? The very space spun by Suzuki also harbors the structure of a camera, images, shapes and narratives of things related to time and light, floating and forming links therein.
Things originally devoid of both life and thought are given photosensitivity, and acquire body and gaze. What should be objects, become subjects, all clear gazes. The people who used these collected items are no longer of this world. Yet, accumulating a different time from humans, they remain, describing pieces of the landscapes and narratives once there, and stirring complex emotions in those who see them. Fragments portraying the light and shadow, the words, of the past, invite people on an endless journey through time. Stories are shared among those who visit the space, each changing within each visitor. The blank gaze of these small items is suffused with unseen images and narratives.
In a place where dead and living, objects, space, time, light, all manner of gazes and memories intersect, we constitute just another tiny piece, and also, the whole.
KATO Chika (Unknown Series curator)
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SUZUKI Nozomi
Born 1983 in Saitama, Japan. Currently in the doctorate course of Intermedia Art at Tokyo University of the Arts. Suzuki Nozomi attempts to visualize, through the principles of photography, the memories resembling latent images submerged in innocuous everyday objects. Fixing photographs, which have the characteristic of being present yet absent, directly to objects, she assigns photographs something like a tactile body, suspending passing time in the now.
Recent group exhibitions include “In the middle of tomorrow and yesterday” (Hajimari Art Center, 2019), “MOT Satellite 2018 Fall: To Become a Narrative” (Kiyosumi-Shirakawa, 2018), “Photographs of Innocence and of Experience: Contemporary Japanese Photography vol.14” (Tokyo Photographic Art Museum, 2017), and “New Vision Saitama 5: The Emerging Body” (The Museum of Modern Art, Saitama, 2016). Among a number of other awards, she was recipient of the POLA Art Foundation Grant for Overseas Research in 2018, under which she studied in the UK.
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UMEZU Gen
Curator, The Museum of Modern Art, Saitama, specializing in art studies. Exhibitions he has organized/co-organized at MOMAS include ”DECODE / Events & Materials: The Work of Art in the Age of Post-Industrial Society” (2019), “A View of Prints: Trajectory of the Gendai Hanga Center” (2018), “100th Birth Anniversary, Q Ei” (2011), “Artist Project: Toward the Emergence of Sekine Nobuo’s Phase – Mother Earth” (2005), “Donald Judd 1960–1991” (1999), and “Visualization in the End of the 20th Century” (1994). He also organized as guest curator the Gallery αM series “Trans / Real: The Potential of Intangible Art” (2016-17). He has contributed a great number of essays to the art magazine Bijutsu Techo, as well as to art catalogues and books.
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<Unknown Image Series no.8 exhibitions>
Creating unknown images
Exploring the power and essence possessed by images, to create unknown images.
A vast number of images are generated every day in this world, only to vanish, but just occasionally, some extraordinary images do emerge. The artists in this eighth Unknown exhibition are Mitamura Midori, Yokoyama Nami, Suzuki Nozomi, Yamamoto Ayaka, and Shoji Asami, who will stage consecutive solo shows. Those serving as guests for the talk events for each of these shows, and providing the texts, will include Mitsuda Yuri, Umezu Gen, Iida Shihoko, Nakamura Fumiko, and Nakao Takuya. After the series is finished a bilingual document will be produced, thus extending the exhibition into another form of expression: that of the book.
Images made by women
The Unknown Image series is also an opportunity to delve deeply into the individual work of some of today’s most noteworthy artists and their worlds, identifying further possibilities for each. This time, albeit not by design, all the artists are female.
Yamamoto Ayaka, featured in the first of the exhibitions, travels to countries where she does not speak the language, and takes portrait photographs suffused with a beauty and violence verging on the mystical. What is it that remains even when everything is stripped from her subjects, down to their names and consciousness, in an attempt to turn them into empty vessels? Suzuki Nozomi is a quiet explorer of the principles of photography and time. Endowing non-living things with a “gaze” and “memory” she gives her photos something like a physical body. Yokoyama Nami blends the vast history of painting and small personal histories to depict the beauty of everyday, insignificant things and what lies behind the bright and shiny. Shoji Asami’s lines create a narrative quality that draws the viewer in like a stage, and a corporeal painterly space suffused with the energy of life and death. Mitamura Midori is the artist in this series with the longest career. Her many very personal images and words are presented in photographs, videos, objects, drawings and installations, that go beyond individual stories or the confines of art, taking on a universal quality that irrevocably captures the heart of the viewer. The guests, meanwhile, are a varied lineup in terms of age and gender, but all individuals on the frontlines of art creation, of superb critical talent.
Once a marginal presence in art history, female artists are now at its cutting edge. What kind of images do these artists make? Why have they felt the need to produce them? The artists participating in these exhibitions have different origins and career trajectories, different ways of engaging with their themes, with history and current circumstances, and different aims. Yet their presence, and the images they create, are without exception strong and vibrant. Their unknown images will quietly shake the viewer to the core, and likely serve as a force for many types of change in the world.
KATO Chika
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<Unknown Image Series no.8 exhibitions schedule>
SHOJI Asami
Venue and period: TBD
Guest: MITSUDA Yuri (Curator, Kawamura Memorial DIC Museum of Art)
*HIGURE 17-15 cas, where the exhibition was to be held, is closed for the time being in light of the COVID-19 pandemic. The new dates and venue for the show will be announced as soon as they are determined.
YOKOYAMA Nami @ void+
May 2021 (TBD)
Guest: IIDA Shihoko (Curator)
MITAMURA Midori @ HIGURE 17-15 cas
2021 (TBD)
Guest: NAKAO Takuya (Art critic)
写真:森政俊
2枚目の舷窓の写真:鈴木のぞみ
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自我介紹
名字:清閨秀
出生日期:西元2004年9月28日
身高:166cm(5'4)(高中是183cm(6'0))
血型:O型
胸圍:E罩杯(高中是H罩杯)
種族:植物人
家鄉:臺灣高雄市(但出生地是善金星球的穿越時空(國家))
學歷:她現在是國中(會讀到博士)
職業:國中學生(現在)
個性:大膽、古怪、樂觀、開朗、文靜
專長:做動畫和影片、影像處理、畫畫、家政事務、觀察、攝影
喜好:愛、書本、動畫、大世界、色情的事物(目前是處女)、古怪的東西、宇宙......等等
討厭:人群、說話、虛偽
魔法能力:外表沒有眼睛,但有透視的能力、眼睛可以放大到看到細胞、會適應黑暗
愛人:這是未來的事,天機不可洩漏
家人:喜優優(媽媽)、清閨才(爸爸)
朋友:不多,雨桂花、雨天、洪蕙琳神木、一些外國人
敵人:很多,天機不可洩漏
Self introduction
Name: Qing Gui Xiu
Date of birth: September 28, 2004
Height: 166cm (5'4) (183cm in high school (6'0))
Blood type: O type
Bust: E cup (high school is H cup)
Race: Vegetative
Hometown: Kaohsiung City, Taiwan (but birthplace is good gold Venus through time and space (country))
Education: She is now a middle school (will read Ph.D.)
Occupation: Middle school students (now)
Personality: bold, eccentric, optimistic, cheerful, quiet
Expertise: Do animation and video, image processing, painting, housekeeping, observation, photography
Likes: love, books, animations, big world, pornography (virginity now), weird stuff, universe ... etc
Hate: Crowd, talking, hypocrisy
Magic ability: the appearance of no eyes, but the ability to see, the eyes can zoom in to see the cells, will adapt to the dark
Lover: This is the future of things, the secret can not be leaked
Family: Hi You You (mom), Qing Gui Only (father)
Friends: not much, Rain Osmanthus, rainy day, Hong Hui Lin Shenmu, some foreigners
Enemy: a lot, secret can not be leaked
家族背景:
盲人植物在1965年發明的,其實清閨秀的祖先是洪蕙琳神木製造的,洪蕙琳神木為什麼要製造外表沒有眼睛的植物人,第一個理由是敵人對盲人的印象是很弱的,盲人植物是吸引敵人的,接下來,雨天會丟炸彈,把敵人殺死,第二個理由是沒有眼睛的動物生存能力高,可以在黑暗裡長大,可是戰爭結束後,他們過了一般的生活,還修改善金星球的穿越時空的課本,其實洪蕙琳神木製造的盲人植物的眼睛是在裡面的,他們有透視的能力,盲人植物什麼都吃,連口水、蟑螂都吃,盲人植物的精神不錯,是屬於是可以出去的5級身心障礙植物
The blind plant was invented in 1965. Actually, the ancestors of Qing Gui Xiu were made by Hong Hui Lin Shenmu. Why should Hong Hui Lin Shenmu create a vegetative plant with no eyes? The first reason is that the enemy's impression of the blind is very weak, and the blind plant is to attract enemies. The next reason is that a rainy day will throw bombs and kill the enemy. The second reason is that animals without eyes have a high viability and can grow up in the dark, but after the war, they live a normal life and they also make improvements. The planet's time and space through the textbooks, in fact, the eyes of the blind plant made by Hong Hui Lin Shenmu are inside. They have the ability to see through. The blind plants eat everything. Even the saliva and quails eat. The spirit of the blind plant is good. A five-level plant for mental and physical disabilities
家庭背景:
清閨秀的父母都是盲人植物,她的爸爸是醫生,她的媽媽是出版社老闆,清閨秀的父母名字很特別,當然他們有特別的想法,把清閨秀放進地球,來學習地球的文化,是雨桂花的鄰居,清閨秀一出生就沒有眼睛,她從小大家知道她很特別,她沒有眼睛,熱愛攝影和動畫,地球的醫療像善金星球沒有發達,清閨秀能騙過地球的醫生,她假裝說看不到,她是表面的極重度視覺障礙,國小一半前她也經常被霸凌,清閨秀非常的樂觀,還是大笑的,雨桂花很佩服她很有自信,總是幫助雨桂花,但是清閨秀隨著國小的教育,越知道很多,她很聰明如何對付正常的同學,知道日記是什麼,她故意說他們的秘密,她說如果霸凌我,我就把你們的秘密繼續散播出去,一開始有用,後來沒有效果,國中,她想出一個方法,利用攝影機拍他們的裸照,說如果霸凌我,我就把你們的裸照繼續散播到網路,後來清閨秀很愛做整人道具,改造他們的父母車、丟飲料、把他們的椅子、調教......等等,她變成霸凌者,大家很怕她,現在雨桂花已經沒有被霸凌了,開始對雨桂花好一點
Qing Gui Xiu’s parents are all blind plants. Her father is a doctor and her mother is a publishing house owner. The names of Qing Gui Xiu’s parents are very special. Of course, they have special ideas. Put Qing Gui Xiu into the earth to learn about the culture of the earth. , is the neighbor of Rain Osmanthus fragrans, Qing Gui Xiu had no eyes when she was born. She knew that she was very special since she was young. She has no eyes and loves photography and animation. The earth’s medical care is not developed like the Golden Star, and Qing Gui Xiu can fool the doctors of Earth. She pretended not to see it. She was a superficial visual disorder on the surface. She was often bullied before half of the country. Qing Gui Xiu was very optimistic and she laughed. Yu Guihua admired her very confident. Helping the Rain Osmanthus, but Qing Gui Xiu knew more with the education of the elementary school. She was smarter how to deal with the normal classmates. She knew what the diary was. She deliberately said their secrets. She said that if I were to bully me, I would put you The secrets continue to spread out. They were useful at first. Later they did not work. In the middle of the country, she came up with a way to use a camera to shoot their nude photos, saying that if I were to bully me, I After spreading your nude photos to the Internet, Qing Gui Xiu later loved to make whole props, remodel their parents' cars, throw drinks, put their chairs, teach... and so on. She became a bully, Everyone was very afraid of her. Now Rain Osmanthus has not been overbearing, and it started to be better for Rain Osmanthus.
人物介紹:
清閨秀外表是文靜的盲人,她透視的能力很好,有時候會看到人的裸體,所以她裡面想是充滿18+的東西,經常講黃色笑話、看色情的事物,她認為接觸色情對人的心無害的,色情就是大自然,沒有色情就沒有我們,理由雖然很正確,但是有人認為她是變態盲人,只有雨桂花認同她的想法,清閨秀很喜歡看動畫,最喜歡的動畫是海綿寶寶、辛普森家庭、勞德之家、我們裸熊,她的夢想是當動畫師,她做了很多的動畫,清閨秀其實沒有被霸凌,她很重情重義,她從小看到雨桂花被霸凌,覺得太過分,一直想方法雨桂花不要被霸凌,最後成功了,跟雨桂花是電子書合作對象,還創立RQEOOK粉絲團,人氣好低,清閨秀發現臺灣不重視電子書,她會請一些外國人,來看他們的電子書
Qing Gui Xiu's appearance is a quiet blind person. Her ability to see through is very good. Sometimes she sees people's nakedness. So she wants to be full of 18+ things. She always tells yellow jokes and pornographic things. She thinks that she is exposed to pornography. People's hearts are harmless, pornography is nature, there is no porn without us. The reason is correct, but some people think she is a perverted blind person. Only Rain Osmanthus agrees with her idea. Qing Gui Xiu likes watching animations. The most favorite animation is Spongebob, The Simpsons, The Loud House, We Bare Bears, her dream is to be an animator. She has done a lot of animations. Qing Gui Xiu has actually not been overbearing. She is very affectionate. She has seen Rain Osmanthus since childhood. Being overbearing, I feel too much, I always wanted to Rain Osmanthus not to be bullied, and finally succeeded, Rain Osmanthus is the subject of e-book cooperation with the rain, but also founded the RQEOOK fan group, popularity is good, low, Qing Gui Xiu found that Taiwan does not attach importance to e-books, She will ask some foreigners to visit their ebooks
注意:雨桂花是用Adobe InDesign做電子書,清閨秀是用Adobe Flash做動畫
Note: Rain Osmanthus is done using Adobe InDesign e-books, Qing Gui xiu is Adobe Flash animation
特別注意:我的英文很爛,有些英文是錯的,可能會修改
Special Note: My English is poor, some English is wrong, may be modified
特別注意:只有中文,沒有英文,表示內容有一半不完整
Special Note: Only Chinese, no English, indicating that half of the content is incomplete
0 notes