摘要
还是在初春,程然即将离开他在上海暂居的老洋房时听说,这个秋天,摄影师南·戈尔丁也将来到上海,搬进同一个套间。于是他想,他应该在这些房间里留下一些痕迹,一些写在纸条或墙上的字句,与她悄悄谈一谈。
It was early spring. Just as Cheng Ran was leaving the old, Western-style house he had lived in for a short lime in Shanghai, he heard that tile photographer Nall Goldin planned to move into the same unit that autumn. He thought he ought to leave some traces behind in the rooms, a few sentences on a scrap of paper, or the wall--so as to have a quiet conversation with her.
出处
《艺术界》
2012年第3期164-175,16,共12页
