藝術(shù)家的“畫廊”
Artist's \"gallery\"
教室??張破爛的歐洲地圖。Bagaladi。1950年意?利。
? David Seymou
David Seymour A tattered map of Europe in a classroom. Bagaladi. Italy. 1950.
? David Seymour | Magnum Photos.
聯(lián)合國教科?組織視聽檔案(數(shù)字化之前)的分析揭?了?個被遺忘的相冊兼?記，由Magnum
Photos的創(chuàng)始?之?David ' Chim ' Seymour保存。重新發(fā)現(xiàn)的這份?件制作于1950年，當(dāng)
時他正在記錄UNSECO在意?利南部的掃盲運(yùn)動。1952年，在聯(lián)合國教科?組織的內(nèi)部刊物
《信使》上刊登了許多Chim在這個項(xiàng)?中拍攝的照?，旁邊還有Carlo Levi的?篇?章。
Carlo Levi當(dāng)時因其回憶錄《基督在埃博利停留》?聞名。
An analysis of UNESCO's audiovisual archives (before digitization) revealed a
forgotten album and diary, preserved by Magnum Photos' co-founder David 'Chim'
Seymour.The rediscovered document was produced in 1950 when he was
documenting UNSECO's literacy campaign in southern Italy.In 1952, many of Chim's
photographs taken in this project were published in the UNESCO internal journal,
The Courier, alongside an article by Carlo Levi.Carlo Levi was famous at the time for
his memoir, Christ's Stay at Eboli.
筆記草圖
Notes on the sketch
這張草圖通過直觀感受去描述照?中?男孩在地圖上所看的位置，?這位置也成為我草圖中
所選取的?個作畫?度，?個“?向”，對于?個未知的”?向“，這張地圖就成了?男孩的通向
之路。
This sketch describes visually the position of the boy on the map,And this position
becomes an Angle, a \"direction\" that I choose in my sketches,For an unknown
\"direction,\" the map is the boy's path.
??書的部分??設(shè)計(jì)
Part of the white paper page design
（該圖標(biāo)設(shè)計(jì) 鑒于國 的書籍）
?彩感知
Color perception
五顏六?的傘做成的圓頂裝飾了巴西
的海灘。
ome installation made out of
colorful umbrellas decorates
beach on brazil.
奧帕維?拉設(shè)計(jì)的傘形建筑，有著穹頂?shù)男螤?bambutec則參考了巴西本?的房屋，稱為
ocas。?傘的顏?是根據(jù)LGBTQIA+國旗的8個?度來選擇的。這個裝置看起來就像?個彩虹
炸彈，是在巴西城市?約熱內(nèi)盧de janeiro的?地上盛開的各種花卉的組合。在它的底
部，“solaroca”接收了由opavivara設(shè)計(jì)的標(biāo)志性的三重沙灘椅。整個裝置都沉浸在?約?化
中，?的是?膽地占領(lǐng)公共空間。
The umbrella building designed by Opaviwara has the shape of a dome!Bambutec
refers to houses in Brazil itself, called Ocas.The umbrella colors are chosen
according to the eight shades of the LGBTQIA+ flag.The installation looks like a
rainbow bomb, a combination of flowers blossoming in the land of Rio DE Janeiro.At
its base, the Solaroca receives the iconic triple beach chair designed by
Opavivara.Immersed in Rio culture, the installation aims to boldly occupy public
space.
筆記草圖
Notes on the sketch
草圖更多的表現(xiàn)裝置的狀態(tài)，以及制作的過程的記錄，從基底到頂棚傘的架起，把更多與環(huán)境
進(jìn)?某種意義上的交接，?左圖的藝術(shù)家更多是打造與環(huán)境相呼應(yīng)的?個?屋公共裝置。在裝
置上，會更注重于表達(dá)外在形態(tài)所帶來的效果。
The sketch is more about the state of the installation, as well as the recording of the
production process, from the base to the setting of the canopy, so as to connect
with the environment in a certain sense. The artist in the left picture is more about
creating a public installation in a bird house that echoes with the environment.On
the device, more attention will be paid to the effect of expressing the external form.
??書的部分??設(shè)計(jì)
Part of the white paper page design
（關(guān)于該主題的主??）
（關(guān)于該主題的部分??）
??的設(shè)計(jì)并不再是具有強(qiáng)飽和度的狀態(tài)，?更多在缺失顏?下，?們的所反映的?為舉?和
狀態(tài)。相反，對我??，缺失顏??再進(jìn)?添加的?度是不夠?的，這樣只是會讓它呈現(xiàn)
出“外在的形態(tài)”，?們只會認(rèn)知眼前環(huán)境的所呈現(xiàn)的樣貌。（隨著周邊的環(huán)境的變化來看，有
時需要的是直?現(xiàn)象本?，并?停留在“物”所被包裝的外表，這也是我對這個主題的?個擴(kuò)
展）
The design of the page is no longer a state of strong saturation, but more a
reflection of the behavior and state of people in the missing color.On the contrary,
to me, the lack of color is not strong enough to add, it will only take on the
\"external shape\", people will only recognize the environment as it is presented.(As
the surrounding environment changes, sometimes what is needed is to face the
phenomenon itself, rather than stay in the appearance of \"things\", which is also an
extension of my theme.)
?刻 MOMENT
影像的部分內(nèi)容
Part of the image
影像?案草圖
影像其實(shí)是?種“正反對話”，?影?的線路以反向時間的與該時間段中所處環(huán)境的變化進(jìn)?敘
述，包括不同時間段中的影像重組，構(gòu)建起兩者或三者以上的存在關(guān)系，在每個章節(jié)中，通過
影像間的聯(lián)系去構(gòu)成?個新的主題段落。
Image is actually a kind of positive and negative dialogue \", \"the film lines to
reverse time and the change of the environment in the period of narrative,
including the restructuring of images from different time periods, the existence of
the above relations, build up two or three in each chapter, through the relationship
between image to constitute a new topic paragraphs.
學(xué)習(xí)?案
Learn copywriting
O U T O F F A S H I O N
藝 術(shù) 的 \" ”
A r t i s t ' s \" g a l l e r y \"
圖?：草圖筆記
?案：姚雄元
排版：姚雄元
地圖MAP
?個“?向”
性的標(biāo)志符號
同時標(biāo)志的各
個?向，每個
都會呈現(xiàn)出不同的現(xiàn)象。
A \"directional\" sign
?indicates alldirections
?at? the same time, each
?of which presents a?
different phenomenon.
DESIGN
影像視頻
IMAGE
