Untitled

09／356 ：the Rose

Sat, 11 May 2013 10:21:00 -0400

「我們不是因為年老而停止玩樂，我們是因為停止玩樂才會變老，保持年輕、讓自己快樂以及成功的密訣有四個，就是：你要笑口常開，幽默風趣，你要時時懷抱夢想，當你失去夢想的那一天，你就形同死亡。身邊有太多人活著卻像死了，而他們一點也不自覺。

變老和長大有很大的差別。

假如一個19歲的人，在床上躺了一年，什麼也沒做，一年後，你變成20歲，但對一個87歲的我來說，一年過去，我已經88歲了。

不需要任何才華或能力，每一天每個人都在變老，但長大的意思是不斷在改變中尋找蛻變的機會，活得無怨無悔，對年老的人來說我們很少後悔做過什麼，而是遺憾沒做過什麼，唯一對死亡感到恐懼的人通常是那些懷抱遺憾的。」

說這段話的人，是一位名為Rose的女士，
小時候夢想能夠上大學，一直到她87歲才實現她的夢想，那年年底，她大學畢業，一週後，她在睡夢中安然離開。

這段話早些年來讀也不會讀懂，得切身地追尋過些什麼才知道，夢想不在小學二年級的作文寫下的句子，也不在工作職場上以時間換取生活所需，夢想會有階段性的改變，夢想可以是別人眼中不起眼的小事，只要你對此感到熱情，並以之為生活的動力，願意投入無窮的喜愛，那便是了。

Life is a seed
That brings sun’s love
In the spring
Become a rose.

Alone in shatters.

Mon, 20 Jun 2011 22:59:33 -0400

Alone in shatters.

Screenplay

Mon, 18 Apr 2011 10:27:09 -0400

Screenplay

Drifting like a sculpture

Mon, 18 Apr 2011 10:24:56 -0400

Drifting like a sculpture

情感的傳遞是有故事的畫面。

Mon, 11 Apr 2011 10:18:08 -0400

情感的傳遞是有故事的畫面。

每一天都是一種練習

Mon, 04 Apr 2011 13:07:08 -0400

練習只專注在要去的方向，

練習只在意值得在意的人事物，

練習無謂也無畏地對世界宣示我的存在，

問題不是我，我不是解答的人。

When u are away,

Wed, 30 Mar 2011 12:39:06 -0400

When u are away,

Photo

Wed, 30 Mar 2011 12:37:57 -0400

Maybe I could….

Mon, 28 Feb 2011 10:48:37 -0500

Maybe I could….

We got up early. We went to beach. We laughed. We ran. We had a...

Mon, 28 Feb 2011 04:50:09 -0500

We got up early. We went to beach. We laughed. We ran. We had a perfect day.

Feb. 28, 2011

She woke me up in the early morning again (Taken with instagram)

Fri, 25 Feb 2011 18:00:01 -0500

She woke me up in the early morning again (Taken with instagram)

Taken with instagram

Sun, 20 Feb 2011 03:38:49 -0500

Taken with instagram

Sat, 19 Feb 2011 23:36:38 -0500

Taken with instagram

"JOSEPH KOSUTH STUDIO: In an interview, Marcel Duchamp was once asked the difference between..."

Wed, 09 Feb 2011 22:30:00 -0500

“

JOSEPH KOSUTH STUDIO: In an interview, Marcel Duchamp was once asked the difference between sculpture and architecture, to which he responded, “Plumbing.” We would begin by asking Maison Martin Margiela: In which way would you define the similarities between your
activity and that of an architect? If, for example, you and Frank Gehry traded jobs for a season, would the result of his production be more like his last building or like your last season? Would the outside of your building reveal how the building-or a building-is made? Would the psychological experience of the person living in it be similar to that of one who wears your clothes?

MAISON MARTIN MARGIELA: Marcel Duchamp always had such clever and funny answers! We wish we could answer “Plumbing” too, but this is such an interesting question that we have to find a proper answer. We think the most important similarity between fashion and architecture is that they share the same starting point: the human body. Both disciplines have a function of protecting-if not sheltering-the body, the flesh, and skin, itself. Then, regarding the process, fashion designers and architects both have to think in terms of proportion, structure, volume, and material. It’s interesting that you picked Frank Gehry for the trading game, because he’s often called a deconstructivist, though he claims no formal alliance with any particular movement-just like us! We have no idea what his production would look like, but we’d be immensely interested in seeing it. About our building, your suggestion of the outside referring to its production process would for sure be part of the project. Also, why not a building made out of other buildings? A replica of an existing building? An invisible building that would use the trompe l’œil technique to disappear into the city landscape? What about your building? We’d love to see you trading jobs with Jean Nouvel! You’ve already done some interventions, including architecture, like your incredible Figeac work. But what would the building actually look like that you conceived? Could someone live in it? Or dream about it?

”