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Born in Harbin in 1984, he received his bachelor’s degree from the Academy of Arts \u0026amp; Design of Tsinghua University, master’s degree at the Herzen State Pedagogical University of Russia, Saint Petersburg, PhD from the Central Academy of Fine Arts in Beijing, and master’s degree from the MIT Media Lab. \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMichele Sibiloni,\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ephotographer Grasshopper Hunters at Night in Uganda\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eRen Ri, artist In a Symbiotic Relationship with Bees Ren Ri is a research-based designer and artist focusing on BioArt. Born in Harbin in 1984, he received his bachelor’s degree from the Academy of Arts \u0026amp; Design of Tsinghua University, master’s degree at the Herzen State Pedagogical University of Russia, Saint Petersburg, PhD from the Central Academy of Fine Arts in Beijing, and master’s degree from the MIT Media Lab. Michele Sibiloni is an Italian photographer and videographer who has lived between Italy and Uganda for many years. Between 2012 and 2014, he photo- graphed the nightlife of Kampala, and published a photo book “fuck it” in 2016, which was chosen by “Time” magazine and other media as one of the best books of the year. His latest project “Nsenene” recorded grasshopper hunting in Uganda, published by Edition Patrick Frey in 2021. The project was exhibited at Aperture Gallery for the show “Delirious Cities” in 2017 and several other exhibitions. \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJoar Nango, artist \u0026amp; architect:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Mission of a Sámi Architect\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eJoar Nango was born in Alta in 1979 and lives in Tromsø. He works with site-specific installations and self-made publications that explore the boundary between architecture, design and visual art. His work relates to questions of Indigenous identity, often through investigating contemporary architecture. Joar has explored modern Sámi spaces through the self-published zine “Sámi Huksendáidda: the FANzine”, the design project “Sámi Shelters” and the mixtape\/clothing project “Land \u0026amp; Language”. He is a founding member of the architecture collective FFB and is currently setting up a network of Sámi architects across Sápmi through the ongoing Indigenous architecture library project. \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBrian CHU Yin-woo, farmer \u0026amp; musician\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOpening up the Land in Hong Kong \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBrian Chu Yin Woo’s practice involves the use of percussive instruments, the manipulation of cassette feedback, and the use of various found objects for the experimental purposes of exploring their sonorous properties. His practice is premised upon attentiveness to the echoes that resound from the surfaces of daily living, the sonic relationships between everyday objects, and an inclination towards the rhythms they happen to produce. Percussion is his visceral response to all of these. \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNo.223, photographer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTake a deep dive into the micro world \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eNo. 223 was born in Guangdong, China in 1979. He is a leading figure of new Chinese photography emerging in the last decade. His work has come to reflect and define a certain zeitgeist of the non-mainstream Chinese youth born in the 1980s and 1990. His photographs have been exhibited in solo shows domestically and internationally, including Delaware Contemporary Museum, The Walther Collection, Stieglitz19 Gallery, to mention only a few. He has published photo books in China, France, Canada, Japan and Italy. \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUriel Orlow, artist\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAfrican Herbs, Agriculture, and Post-colonialism \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eUriel Orlow lives and works between London and Lisbon. He studied at Central Saint Martins College of Art \u0026amp; Design London, the Slade School of Art, University College London and the University of Geneva, completing a PhD in Fine Art in 2002. In 2020 he received the C. F. Meyer Prize, and in 2017 he was awarded the Sharjah Biennial prize. He also received an annual art award of the City of Zurich in 2015 and three Swiss Art Awards at Art Basel (2008, 2009, 2012) and was shortlisted for the Jarman award in 2013. Uriel Orlow’s practice is research- based, process-oriented and multi-disciplinary, including film, photography, drawing and sound. His work is concerned with residues of colonialism, spatial manifestations of memory, blind spots of representation and plants as political actors. \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eXu Tan, artist\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eInto the field \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eXu Tan was born in Wuhan, China in 1957. He studied oil painting at the Guangzhou Academy of Fine Arts. In 1993, he joined the “Da Wei Xiang” (Big Tail Elephant Group), the Guangzhou-based artist collective. His practices incorporate multimedia works, including text, images, video, performance, and so forth. He has participated in numerous Biennales and Triennials worldwide, such as those in Venice (2003, 2009), Berlin (2001), Guangzhou (2005), Gwangju (2002), Shanghai (2014), and Sharjah (2015). He seldom holds solo exhibitions. His most recent solo exhibition was “Questions, Soil and ‘Socio-Botanic’ ” at Vitamin Creative Space, Guangzhou, 2013. \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLisa Walker, musician\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEnsemble with Humpback Whales \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eLisa Walker was born in Vancouver, Canada. She studied classical violin at an early age. After training at the Vancouver Conservatory of Music, she explored various styles, including jazz, folk, and blues. In 1996, she was invited to join a humpback whale research group in southeast Alaska. As a musician, she was able to identify subtle patterns of whale acoustic activities that were less obvious to scientists. Her album “Grooved Whale”, based on her exploration of humpback whale songs, won the NAV Award for Best Environmental Album of the Year. \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eOur postal service currently only accept packages in Germany.\u003cbr\u003eIf you want a shipment in EU, please contact our Email: info@doooogs.com\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Art by Akaa","offers":[{"title":"Default Title","offer_id":43020208275549,"sku":null,"price":39.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0657\/6481\/9037\/files\/Screenshot_2025-01-15_at_4.42.54_PM.png?v=1736930710"},{"product_id":"te-magazine-dance-in-herland-她乡舞曲","title":"Te magazine - Dance in Herland 她乡舞曲","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e*若地址在中国地区，请用中文填写\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003ci\u003e\u003cbr\u003eDance in Herland\u003c\/i\u003e surveys artist Luka Yuanyuan Yang’s cinematic oeuvre, including her feature-length production \u003ci\u003eChinatown Cha-Cha\u003c\/i\u003e and five short films centered on diasporic Chinese communities. The book picks up where the films end, serving as both a reflection and a complement, while also creating a new narrative. The book brings together hundreds of archival materials from photo albums, rare and invaluable oral histories, creative writings, and interviews with scholars. Over nearly a year of editing, we felt like revisiting 20th-century San Francisco and Cuba, tracing history through the neons of Chinatown and the echoes of Cantonese opera. For the dancers and performers documented in this book, their bodies act as living archives; their memories and unspoken emotions may be concealed in their steps, fingertips, and gazes.\u003cbr\u003e\u003cbr\u003eAdditionally, the design duo Studio Pianpian He and Max Harvey transformed the books into a vessel of collective memory through their design. They used papers in various colors to separate different oral history backgrounds. The designers delicately captured visual elements marked by the era from the archive, infusing the book with new charm grounded in the aesthetics of the last century.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Now place","offers":[{"title":"Default Title","offer_id":43569249779805,"sku":null,"price":50.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0657\/6481\/9037\/files\/dance-in-herland.png?v=1754263278"},{"product_id":"apus-雨燕-vol-1-第一期","title":"Apus 雨燕 Vol 1 第一期 Time 时间","description":"\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e《Apus雨燕》是一本文学与文化取向的海外华语纯文学杂志，发源于美国旧金山湾区，现已出版两期，第三期正在征稿中。杂志名取自常年飞行的“无脚鸟”，象征普通人在不确定与风雨中仍持续前行的韧性与勇气。我们关注文学、艺术与思想的交汇，也记录离散经验中的情感与表达。成员分布世界各地，以语言为共同的连接，在不同的时空中书写、相遇。纸质刊物目前已寄售于多个海外文化空间，如旧金山On Waverly、纽约重音姐妹、西雅图之间书店、墨尔本夹洲计划、以及飞地荷兰、飞地台北等书店。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eApus雨燕 is an independent literary magazine and creators’ community with a globally based team and roots in the Bay Area. Named after the swift, a migratory bird, It focuses on the diasporic experience, exploring themes of identity, cultural conflict, and memory. Scattered across the world, we are drawn together by a shared love of literature and art. Home lingers in the spaces between words, in the shadows of ink, in the weight of paper. With Apus, we craft a small sanctuary, inscribed with the traces of time and space.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e《Apus雨燕》第一期以“时间”为主题，在对流逝与消解的凝视中展开书写：时间无声推进，带走生命、记忆与一切人类试图固定之物，使创作本身也显得短暂而微小。本期收录来自全球各地、不同背景的作者们的小说与诗歌，他们在各自的生活与经验中触摸时间的纹理，从个体感知出发，回应这一共同而恒久的命题。在这样的汇聚中，写作不再试图抵抗时间，而是透过意向与想象与之共处。在流动中观察、在消逝中记录，让每一次表达成为与时间相遇的一种方式。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e \u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eTime is intangible yet omnipresent, shaping growth and creation while also bringing inevitable change. The inaugural issue of Apus explores the theme of Time, born from our fascination with its relentless passage and the beauty it weaves.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eFrom the shadows cast by trees in the morning light to the world dimming at dusk, time slips away quietly, leaving traces of transformation. Though we often seem unchanged, each moment subtly shapes us—like frames in a filmstrip, creating the illusion of continuity.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eAmid this ceaseless flow, we choose to cast a small flower into its currents. 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Named after the swift, a migratory bird, It focuses on the diasporic experience, exploring themes of identity, cultural conflict, and memory. Scattered across the world, we are drawn together by a shared love of literature and art. Home lingers in the spaces between words, in the shadows of ink, in the weight of paper. With Apus, we craft a small sanctuary, inscribed with the traces of time and space.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eApus雨燕第二期的主题为“共生”，从“与何共，如何生”的提问出发，重新审视这一充满张力的概念。在如今边界不断加固、世界趋向分裂的时代语境中，本期将“共生”从理想化的状态中抽离，置于更现实、甚至带有冲突与不平衡的处境之中加以观察与书写，描摹人与外物相处相伴的亲密与缝隙。作品涵盖不同时空与地域，探讨人如何在多重关系中寻找位置、与世界和他者共处。\u003cbr\u003e\u003cspan class=\"s1\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e本期收录来自不同背景作者的诗歌、小说、艺术创作，另外对郑恩柏和Allison King进行了采访，倾听年轻创作者的心声。并同时纳入中英文写作，让多种语言与表达方式在同一空间中相互靠近，也彼此拉扯。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e在不确定与变动之中，雨燕尝试将“共生”作为一种开放的问题，在持续的调整与对话中，寻找可能的连接方式。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eFor the second issue of Apus, we take \"Symbiosis\" as our theme. 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