cusp.talk
We hope to share more aspects of the artist with you in the form of dialogue.我们希望通过对话的形式把创作者更多的方面分享给大家。让大家更全面的了解创作者本身和他们的作品时，也希望在对话和交谈以及大家阅读的同时产生新的想法和可能性。
When giving everyone a more comprehensive understanding of the creators themselves and their works,
we also hope to generate new ideas and possibilities in the dialogue and conversation as well as everyone reading.
13. Das Japanische Haus
The nice thing about this whole thing is that there is no pressure or regulations. Everyone is allowed to come to us, no matter what country they come from, no matter what religion they belong to, what gender they are, what sexual orientation, and so on, it doesn't matter. This is where people come to have a good time. It's all about this.
这件事的好处在于，它完全没有压力也没有规则，所以任何人都可以来，无论他们来自哪里，信仰什么宗教，性别如何，性取向如何，都没有关系，他们只是来这里度过一段美好时光，这就是它的意义所在。
12. Zhang An
I knew which hill was best for watching the sunset, I knew that in May there was an uphill road where there would be an explosion of orb-like spider webs, I knew that there were two waterfronts where it was easiest to photograph wobbling mosquitoes and bats, and I knew that if I walked along the Jiuxiang River it would eventually merge into the Yangtze River.
我知道哪个山头最适合看日落，知道五月份的时候有条上山路会有球状蜘蛛网大爆发，知道有两个水边最容易拍到摇蚊和蝙蝠，知道沿着九乡河走下去最后它会汇入长江。
11. Edward Thomasson
Poetry, musical theatre, sex, support groups and other creative ways and coming together to make life bearable.
诗歌、音乐剧、性、支持小组和其他创造性的方式聚集在一起，这些使生活可以承受下去。
10. Matthieu Croizier
I watch and collect a lot of images, fragments of text, ideas, and then I start to work very intuitively. I have images that pops up in my head and I just feel the urge to realize them. The projects is then building itself step by step, by assembling my images as fragments of a new story. I don’t have a clear idea of where I’m going from the start, only a general idea, as I need to leave space for life, accidents and unexpected stuff to come on the way.
我观察并收集大量的图像、文本片段和想法，然后我开始非常直观地工作。我有一些图像在我的脑海中浮现，我只是觉得有冲动去实现它们。然后项目是一步一步地建立自己，通过组装我的图像作为一个新故事的片段。我从一开始就没有一个明确的想法，只有一个大致的想法，因为我需要为生活、意外和意外的东西留出空间来。
9. Bryson Rand
I have always felt it was important to be adaptable as an artist. Throughout my life I have found ways to make photographs wherever I find myself, reflecting my experience in the landscape as well as private and public spaces. For many years I primarily made photographs of people in their living spaces or invited them to my home to create photos. Over the past few years I have had on and off access to studio spaces which has allowed my practice to shift and grow in surprising ways. Whatever situation I find myself in, I attempt to make photographs that transform the space, revealing energies and forces that are unseeable without the intervention of the camera. When I begin making photographs I start with a mood, gesture, or interaction in mind, rather than a specific image I want to create. This allows me to remain open to interactions between myself and the people and/or environment I am making photographs with and respond accordingly.
我一直觉得作为一个艺术家，适应性是很重要的。在我的一生中，我找到了在任何地方拍摄照片的方法，反映了我在风景以及私人和公共空间的经验。许多年来，我主要是在人们的生活空间里拍摄照片，或者邀请他们到我家里来创作照片。在过去的几年里，我时常接触到工作室的空间，这让我的实践以惊人的方式转变和成长。无论我发现自己在什么情况下，我都试图拍出能改变空间的照片，揭示出没有相机的介入就无法看到的能量和力量。当我开始制作照片时，我开始考虑一种情绪、姿态或互动，而不是我想创造的特定图像。这使我能够对我自己和我正在拍摄的人和或环境之间的互动保持开放，并作出相应的反应。
8. Tereza Červeňová
I have been thinking a lot about how does one recover from something that completely shakes (and breaks) their world. In the aftermath of the pandemic, it is something that a lot of people are surely thinking about and feeling within. I have been thinking about where does fatigue come from and how is it taken care of by the collective us in society? What counts as productive and valuable, how does a freelance artist make a living and move in the world feeling worthy if they don’t make work that is monetarily reciprocated?
我一直在想，一个人如何从完全震撼和破坏他们世界的事情中恢复过来。在大流行病之后，这是很多人肯定在思考和感受的事情。我一直在思考，疲劳从何而来，社会上的我们又是如何照顾到它的？什么才是有生产力和有价值的，如果一个自由艺术家不做有金钱回报的工作，他们如何在这个世界上谋生并感到有价值？
7. Sophie Tianxin Chen
There is no clear distinction between life and work in my case. They are very much blended together. I keep a list of ideas that I thought would be interesting as photographs. They are mostly from my daily observations as a home-bound introvert. I do my best to recreate the scenes, or rather, to reflect the psychological spaces that I was in, but I do not obsess onbeing exact. I let improvisation take its turn.
以我这个个例来说生活和创作之间是没有明显区别的。它们在很大程度上是融合在一起的。我保留了一份我认为可以做成作品的想法的清单。它们大多来自我作为一个内向宅女的日常观察。在创作过程中，与其说重现这些场景，我更加在乎作品是否能呈现当时那个特定的心理空间，所以我并不会呆板地处理它们。我喜欢即兴发挥。
6. Yang yang
The medium that I often use when I create works are not limited. I choose from different materials according to the varying concepts. Many people say that this methodology requires loose understandings of different mediums. I am open to this choice. I also like to go to museums to see antiquities.
我创作时常用的媒介会随着不同的问题选择不同的材料，很多人也说这种方式样样通、样样松。 我不拒绝，平时也喜欢去博物馆看古物。
5. James Wilde
Moving between thoughts on the night, shame and the queer image, this research considers ideas of abjection, the fallen male figure and the apologetic. The notion of fixity has been crucial in terms of both the physicality of the works along with the concept of paralysis (or more so, the third stage of human decomposition; rigor mortis).
我的作品主题总在夜晚、羞耻和酷儿形象的思考之间移动，这项研究考虑了落魄、堕落的男性形象和道歉的想法。固定性的概念对于作品的物理性以及瘫痪的概念地延伸（或者更重要的是，人类分解的第三阶段；尸体僵硬）这些想法对我来说都是至关重要的。
4. yiwen
I always feel that nature provides people with the most cost-free comfort. Plants and green are the most common elements and colors in my works. Plants make people happy and people don’t need to exchange emotions with it.
⼀直都觉得，⾃然给⼈提供了最不需要成本的宽慰，植物和绿色是我作品中最常出现的元素和颜色，植物使⼈愉悦⼈们也不需要和它交换情感，恰到好处的美和疏离感。
3. Rita Silva
I see everything I create as being interconnected between the material world and the immaterial world. All the art I create is heavily based on the process, which often is repetitive and ritualistic.
There are certain themes that keep re-emerging in my work that have to do with what it is to have attachments to people, what it is to have a sense of belonging, what it is to forge a space that you can occupy.
我认为我创造的一切都在物质世界和非物质世界之间相互联系。我创作的所有艺术都在很大程度上基于过程，而过程通常是重复的和仪式化的。有些主题在我的作品中不断重新出现，这些主题与对人的依恋、归属感和打造一个可以占据的空间有关。
2. Qindi Hu
1.It is material and related to water.
2. A period of time with things/people.
3. The moment and presence, association and commemoration.
带有物质性的，和水有关的。
和事物，人共处的一段时间。
当下与在场，关联与纪念。
1. Daniel John Bracken
I find myself particularly drawn to contemporary notions of time slippage and of an overlapping reality. Indistinct connections between past and present, day and night, dream and reality. Stemming from the social implications of personal isolation and an identification with my own queer experience, a prolonged sense of loneliness becomes apparent, balanced by a visceral reality of human intervention - of touch. The images exude textural association, and in that attempt, call for a sense of touch. A longing within the in-between spaces. A specific interaction with the viewer, instructing further understanding of the communal un- or sub-conscious. ”
我对于当代时间观念中的时间滑落与重叠现实特别着迷。过去与现在、白天与黑夜、梦与现实之间种种的模糊联系是非常迷人的。从我个体的酷儿经历认同到到社会观念的影响，长期的孤独感变得明显，同时又并被人类干预的现实或——触觉所平衡。也因此，我的图像散发出关于纹理联想，在这种尝试中，去制造一种触觉的感知，去唤起一种对于不确定的渴望。这种与观众的互动更进一步去让人去思考无意识与潜意识的公共性。
The nice thing about this whole thing is that there is no pressure or regulations. Everyone is allowed to come to us, no matter what country they come from, no matter what religion they belong to, what gender they are, what sexual orientation, and so on, it doesn't matter. This is where people come to have a good time. It's all about this.
这件事的好处在于，它完全没有压力也没有规则，所以任何人都可以来，无论他们来自哪里，信仰什么宗教，性别如何，性取向如何，都没有关系，他们只是来这里度过一段美好时光，这就是它的意义所在。
12. Zhang An
I knew which hill was best for watching the sunset, I knew that in May there was an uphill road where there would be an explosion of orb-like spider webs, I knew that there were two waterfronts where it was easiest to photograph wobbling mosquitoes and bats, and I knew that if I walked along the Jiuxiang River it would eventually merge into the Yangtze River.
我知道哪个山头最适合看日落，知道五月份的时候有条上山路会有球状蜘蛛网大爆发，知道有两个水边最容易拍到摇蚊和蝙蝠，知道沿着九乡河走下去最后它会汇入长江。
11. Edward Thomasson
Poetry, musical theatre, sex, support groups and other creative ways and coming together to make life bearable.
诗歌、音乐剧、性、支持小组和其他创造性的方式聚集在一起，这些使生活可以承受下去。
10. Matthieu Croizier
I watch and collect a lot of images, fragments of text, ideas, and then I start to work very intuitively. I have images that pops up in my head and I just feel the urge to realize them. The projects is then building itself step by step, by assembling my images as fragments of a new story. I don’t have a clear idea of where I’m going from the start, only a general idea, as I need to leave space for life, accidents and unexpected stuff to come on the way.
我观察并收集大量的图像、文本片段和想法，然后我开始非常直观地工作。我有一些图像在我的脑海中浮现，我只是觉得有冲动去实现它们。然后项目是一步一步地建立自己，通过组装我的图像作为一个新故事的片段。我从一开始就没有一个明确的想法，只有一个大致的想法，因为我需要为生活、意外和意外的东西留出空间来。
9. Bryson Rand
I have always felt it was important to be adaptable as an artist. Throughout my life I have found ways to make photographs wherever I find myself, reflecting my experience in the landscape as well as private and public spaces. For many years I primarily made photographs of people in their living spaces or invited them to my home to create photos. Over the past few years I have had on and off access to studio spaces which has allowed my practice to shift and grow in surprising ways. Whatever situation I find myself in, I attempt to make photographs that transform the space, revealing energies and forces that are unseeable without the intervention of the camera. When I begin making photographs I start with a mood, gesture, or interaction in mind, rather than a specific image I want to create. This allows me to remain open to interactions between myself and the people and/or environment I am making photographs with and respond accordingly.
我一直觉得作为一个艺术家，适应性是很重要的。在我的一生中，我找到了在任何地方拍摄照片的方法，反映了我在风景以及私人和公共空间的经验。许多年来，我主要是在人们的生活空间里拍摄照片，或者邀请他们到我家里来创作照片。在过去的几年里，我时常接触到工作室的空间，这让我的实践以惊人的方式转变和成长。无论我发现自己在什么情况下，我都试图拍出能改变空间的照片，揭示出没有相机的介入就无法看到的能量和力量。当我开始制作照片时，我开始考虑一种情绪、姿态或互动，而不是我想创造的特定图像。这使我能够对我自己和我正在拍摄的人和或环境之间的互动保持开放，并作出相应的反应。
8. Tereza Červeňová
I have been thinking a lot about how does one recover from something that completely shakes (and breaks) their world. In the aftermath of the pandemic, it is something that a lot of people are surely thinking about and feeling within. I have been thinking about where does fatigue come from and how is it taken care of by the collective us in society? What counts as productive and valuable, how does a freelance artist make a living and move in the world feeling worthy if they don’t make work that is monetarily reciprocated?
我一直在想，一个人如何从完全震撼和破坏他们世界的事情中恢复过来。在大流行病之后，这是很多人肯定在思考和感受的事情。我一直在思考，疲劳从何而来，社会上的我们又是如何照顾到它的？什么才是有生产力和有价值的，如果一个自由艺术家不做有金钱回报的工作，他们如何在这个世界上谋生并感到有价值？
7. Sophie Tianxin Chen
There is no clear distinction between life and work in my case. They are very much blended together. I keep a list of ideas that I thought would be interesting as photographs. They are mostly from my daily observations as a home-bound introvert. I do my best to recreate the scenes, or rather, to reflect the psychological spaces that I was in, but I do not obsess onbeing exact. I let improvisation take its turn.
以我这个个例来说生活和创作之间是没有明显区别的。它们在很大程度上是融合在一起的。我保留了一份我认为可以做成作品的想法的清单。它们大多来自我作为一个内向宅女的日常观察。在创作过程中，与其说重现这些场景，我更加在乎作品是否能呈现当时那个特定的心理空间，所以我并不会呆板地处理它们。我喜欢即兴发挥。
6. Yang yang
The medium that I often use when I create works are not limited. I choose from different materials according to the varying concepts. Many people say that this methodology requires loose understandings of different mediums. I am open to this choice. I also like to go to museums to see antiquities.
我创作时常用的媒介会随着不同的问题选择不同的材料，很多人也说这种方式样样通、样样松。 我不拒绝，平时也喜欢去博物馆看古物。
5. James Wilde
Moving between thoughts on the night, shame and the queer image, this research considers ideas of abjection, the fallen male figure and the apologetic. The notion of fixity has been crucial in terms of both the physicality of the works along with the concept of paralysis (or more so, the third stage of human decomposition; rigor mortis).
我的作品主题总在夜晚、羞耻和酷儿形象的思考之间移动，这项研究考虑了落魄、堕落的男性形象和道歉的想法。固定性的概念对于作品的物理性以及瘫痪的概念地延伸（或者更重要的是，人类分解的第三阶段；尸体僵硬）这些想法对我来说都是至关重要的。
4. yiwen
I always feel that nature provides people with the most cost-free comfort. Plants and green are the most common elements and colors in my works. Plants make people happy and people don’t need to exchange emotions with it.
⼀直都觉得，⾃然给⼈提供了最不需要成本的宽慰，植物和绿色是我作品中最常出现的元素和颜色，植物使⼈愉悦⼈们也不需要和它交换情感，恰到好处的美和疏离感。
3. Rita Silva
I see everything I create as being interconnected between the material world and the immaterial world. All the art I create is heavily based on the process, which often is repetitive and ritualistic.
There are certain themes that keep re-emerging in my work that have to do with what it is to have attachments to people, what it is to have a sense of belonging, what it is to forge a space that you can occupy.
我认为我创造的一切都在物质世界和非物质世界之间相互联系。我创作的所有艺术都在很大程度上基于过程，而过程通常是重复的和仪式化的。有些主题在我的作品中不断重新出现，这些主题与对人的依恋、归属感和打造一个可以占据的空间有关。
2. Qindi Hu
1.It is material and related to water.
2. A period of time with things/people.
3. The moment and presence, association and commemoration.
带有物质性的，和水有关的。
和事物，人共处的一段时间。
当下与在场，关联与纪念。
1. Daniel John Bracken
I find myself particularly drawn to contemporary notions of time slippage and of an overlapping reality. Indistinct connections between past and present, day and night, dream and reality. Stemming from the social implications of personal isolation and an identification with my own queer experience, a prolonged sense of loneliness becomes apparent, balanced by a visceral reality of human intervention - of touch. The images exude textural association, and in that attempt, call for a sense of touch. A longing within the in-between spaces. A specific interaction with the viewer, instructing further understanding of the communal un- or sub-conscious. ”
我对于当代时间观念中的时间滑落与重叠现实特别着迷。过去与现在、白天与黑夜、梦与现实之间种种的模糊联系是非常迷人的。从我个体的酷儿经历认同到到社会观念的影响，长期的孤独感变得明显，同时又并被人类干预的现实或——触觉所平衡。也因此，我的图像散发出关于纹理联想，在这种尝试中，去制造一种触觉的感知，去唤起一种对于不确定的渴望。这种与观众的互动更进一步去让人去思考无意识与潜意识的公共性。