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【展览预告】邓国源大型个展将于5月12日在德国科布伦茨路德维希美术馆开幕!

作者:admin 发布时间:2019-05-12 19:44:21 浏览次数:256
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视力保护色

蝴蝶占据了恐龙的花园

Butterflies Conquer the Dinosaurs’ Garden

艺 术 家 :邓国源

A r t i s t: Deng Guoyuan

策 展 人 :贝亚特艾芬沙德

Curator :Beate Reifenscheid

协作策展人:梁克刚

Co-Curator:Liang Kegang

展 馆 :德国,科布伦茨市,路德维希美术馆

V e n u e: Ludwig Museum, Koblenz, Germany

地址Add :Danziger Freiheit 1 D-56068 Koblenz

开幕时刻 :2019年5月12日

Opening :May 12, 2019

展 期:2019年5月12日——6月12日

Duration:May 12 — June 12 , 2019

邓国源2019年首个欧洲大型个展——蝴蝶占据了恐龙的花园将于5月12日在德国路德维希美术馆(科布伦茨)开幕。本次展览将展出艺术家邓国源的一系列最新艺术发明著作。

Deng Guoyuan's first large scale European solo exhibition in 2019, Butterflies Conquer the Dinosaurs’ Garden, will open on May 12, 2019 at Ludwig Museum, Koblenz, Germany. This exhibition will bring a series of artist Deng Guoyuan's latest artworks.

▲诸神1-60 Gods1-60 | 亚克力 UV 打印UV print on acrylic丨每件(each) 60x80x1.5cm 丨2019

▲新物种丨Xniyaemb|The Gods of New Species| 亚克力 UV 打印 UV print on acrylic|60x80x1.5cm丨2019

毫无疑问,是基因工程和人工智能效果给了邓国源以启示,使他臆造出了这些千奇百怪的动物。也便是说,由基因工程和人工智能带来的“新创世年代”是邓国源的《新物种系列》著作发生的实际布景。除此之外,我国古代神话经典《山海经》(Classic of Mountains and Seas)也给邓国源带来了发明创意,并使得这组今世艺术著作具有衔接前史文脉(Context)的功用并与之发生联络。无论如何,《新物种系列》(New species series)著作是邓国源以艺术的方法对这个史无前例的科技立异年代及其新事物做【展览预告】邓国源大型个展将于5月12日在德国科布伦茨路德维希美术馆开幕!出的精力反映。

Undoubtedly, the results of gene engineering and artificial intelligence have inspired Deng Guoyuan to create these bizarre animals. That is to say, the "new creation era" brought by the gene engineering and artificial intelligence is the realistic background of Deng Guoyuan's "New Species Series". In addition, the ancient Chinese mythology the Classic of Mountains and Seasalso inspired Deng Guoyuan, and made this set of contemporary art works with the function of connecting the historical context, and build further relationship between them. In any case, the New Species Seriesis a spiritual reflection of Deng Guoyuan's artistic approach to this unprecedented era of technological innovation and its new things.

▲ 新物种丨Tsusyp | The Gods of New Species| 亚克力 UV 打印 | UV print on acrylic 60x80x1.5cm丨2019

邓国源是一位视野开阔、观念敞开的艺术家,这样的艺术实质与他曾有过在欧洲发明、日子的阅历有关。他不只能够打破艺术言语之间的边界,一起选用多种艺术方法进行发明,而且能够逾越狭窄的本乡认识,将全人类的遍及关心作为自己的发明主题。自21世纪以来,他越来越多地致力于设备艺术发明,先后推出了《以形而上的方法诞生系列》(2009—2017)和《诺亚花园系列》(2015—2017)等以生态环境为主题的优异设备著作。《新物种系列》(New species series)著作无论是在艺术方法上,仍是在艺术主题上,都标志着邓国源的艺术迈入了一个新的高度。

Deng Guoyuan is an artist with an open mind. This artistic quality is related to his experience of living in Europe. He not only breaks the boundaries between artistic language, but also use a variety of artistic means to create. Moreover, he transcends the narrow local consciousness and regards the universal concern of all mankind as his own creative theme. Since the 21st century, he has been increasingly devoted to installation art, and has launched the "Metamatically Birth Series" (2009-2017) and the "Noah Garden Series" (2015-2017), which are excellent installation with the theme of ecological environment. In terms of artistic techniques and artistic theme, the New Species Seriesmarks that Deng Guoyuan’s art has reached a new height.

————王端廷Wang Duanting

▲洛利的花园Lorelys’ Garden exhibition floor plan丨钢管、LED灯带Steel pipe, LED lamps丨2019

这批著作具有一种古怪的状况,总共分为四个系列 : 1.洛利的花园; 2.启示录; 3.诸神的花园;4.诸神之像:基因组合首要集中于第3个系列。十件镜面设备著作:蝴蝶占据了恐龙的花园,蜻蜓占据了山君的花园,海洋生物占据了河马的花园,甲壳虫占据了大象的花园,蜘蛛占据了熊猫的花园,螳螂占据了狮子的花园,蜜蜂占据了猩猩的花园,诸神占据了机器人的花园。比方山君和蜜蜂进行了基因组合,混组成子孙,长出来的将是一个什么情况?咱们既看到了翱翔的山君,又看到了能够食肉的蜜蜂,既能够在蜜蜂的肚子上伸出一只人的脚来,又能够在山君的臀部上长出一朵花正在对着阳光怒放。

Gene Mutations comprises four subseries— “Loreleys’ garden”, “Revelations”, “The Gardens of the Gods”, and “The Gods of New Species”, which all have a strange outlook. The third subseries focuses on gene combination, portraying butterflies invading dinosaurs’ garden, dragonflies invading tigers’ garden, marine organisms invading hippos’ garden, beetles invading elephants’ garden, spiders invading pandas’ garden, cockroaches invading lions’ garden, honeybees invading chimpanzees’ garden, and the gods invading robots’ garden. For instance, the genomes of tigers and honeybees are combined to yield their offspring. How do their offspring look like? We see not only flying tigers, but also carnivorous honeybees. On a honeybee’ belly grows a human foot, and on a tiger’s buttock grows a flower in full bloom, bathed in sunlight.

▲新物种之神——恐龙和新物种之神——蝴蝶 Dinosaur-The Gods of New Species and Butterfly-The Gods of New Species丨钢管、LED灯带 Steel pipe, LED lamps 丨Butterfly 320x290x90cm Dinosaur 185x60x110cm丨2019

假如这个展览的著作仅仅用虚拟的图像来体现,或许还仅仅一种“虚拟”,咱们对待虚拟就像对待先知的预言,历来都是两面三刀。可是,现在邓国源正带领一个团队没完没了地把几千个基因变异的组合变成各种雕塑,而且无限地延伸,而延伸一旦敞开,永无停止,再难操控,展览中展出的仅仅这一系列制造的开端,关于基因变异来说,就像2018年11月的那次基因修改事情,一个开端只不过是一次声明和发动,这个事情所起的改变,就像著作中镜子的效果的改变相同,发生了底子的倒转,形成了巨大的不同。镜子曾经在那个诺亚花园中心不断营建精美的错觉,如梦似幻,让观众一时在晕厥中忘却日子和世界的困难,然后经过诺亚方舟的意向将人类生计的自我认识连续。而现在人类境况形势现已不能再作幻象和假定,镜子成为实际的布景,看每一件基因变异的小雕塑,观众都能看到破碎的自己的镜像。在艺术变革社会和面向问题的道路上,带着这种职责,邓国源的新作现已让咱们不得不把基因工程对人的变异和干涉这一很近的实际,变得能够接触。

If the series is presented as virtual images, it would remain as a kind of virtual reality. Just as how we deal with a prophet’s oracles, we tend to treat virtual reality in a respectful but dismissive manner. But the fact is, Deng is leading a team to create a multitude of sculptures, portraying thousands of cases of gene mutation— an endless process that may grow out of control. The exhibition only shows part of such creation. Just like the genome-editing incident in November 2018, gene mutation might only be a topic for discussion at the start. But it may lead to changes comparable to how the mirror’s function changes in Deng’s works, namely, a total reversal. In Noah’s Garden, the mirror constantly conjures up fancy illusions, so the audience can momentarily escape hardships in real life. The allusion to the Noah’s Ark endorses the human instinct for survival. Whereas in Gene Mutations, the dire situation that mankind is facing today can no longer be dismissed as illusion or speculation. Mirrors become the backdrop of reality. Whenever the audience look at the mini-sculptures portraying cases of gene mutation, they see fractured images of themselves in the mirrors. Thanks to the series, the role that genetic engineering plays in mutating and intervening with humanity has become a reality so tangible to us.

————朱青生Zhu Qingsheng

▲它 她 他 It She He| 纸、铅笔、墨水 Paper, pencil, ink | 600x140cm丨2019

我国人一向以来全体上便是一个十分理性的民族,我在想或许这跟汉语的象形文字来源有关,远古的汉字其实便是图像,后来经过文字的逐步简化归纳成为象形的笔划构成共同的汉字和相应的言语体系,这跟地中海文明源自一种相似笼统符号编码体系的结绳记事的拉丁语系的文字和言语好像有着十分实质的不同。所以自古以来汉民族是靠对相似图像的象形文字的视觉感触所反映出来的概念和含义来了解世界、描绘世界和互相沟通的。也正由于如此汉民族历来是多愁善感的,在古代相对更有文明的文人士大夫集体更是喜爱抚今追昔、伤春悲秋,特别关于水月镜像般的虚无和实【展览预告】邓国源大型个展将于5月12日在德国科布伦茨路德维希美术馆开幕!际世界在内心中投射的幻象一向有着特别浓郁的爱好。而在绵长的前史中许多巨大的诗篇、文学、戏曲、绘画、雕塑著作正是在这样的布景下诞生的。

The Chinese have always been an emotionally perceptive people. I think this is perhaps connected to the pictographic roots of Chinese characters. Chinese characters in remote antiquity were basically pictures, which were later simplified in the writing to form the unique ideographic written words and corresponding linguistic system that seems to differ in very essential ways from the writing and language of the Latin languages of the Mediterranean, which themselves emerged from clusters of abstract symbols. Thus, since ancient times, the Han Chinese people have used the concepts and meanings reflected through an ideographic visual perception akin to pictures to understand, describe and interact with the world. This has also made the Han Chinese quite a sentimental people. In ancient times, the more educated literati class enjoyed gathering to reflect on the present and reminisce about the past, and were particularly interested in illusions of reality projected in the heart like the moon reflected in a mirror. Througho我独自生活ut history, many great works of poetry, literature, drama, painting and sculpture emerged from precisely this background.

▲启示录 NO.1 Revelation NO.1丨 镜面不锈钢、霓虹灯管、丙烯 Mirror, stainless steel, neon tube lights, acrylic paint丨244x244x7cm丨2019

他受启示于杂糅了神话、地舆、风俗和愿望等内容的我国志怪古籍《山海经》,也学习了《希腊神话》中诸神传说的叙事结构,一起又有感于我国今世社会在狂飙突进中的剧烈变异和荒谬实际,邓国源用玩具、玩偶和杂乱的镜象空间构建了一个奇特鬼畜愿望的世界。里边包含着数以千计的奇特生物。

He found inspiration in that ancient Chinese book of oddities combining mythology, geography, folkways and imagination, the Classic of Mountains and Seas. He drew from the narrative structure of Greek mythology, and was also moved by the drastic changes and absurd realities of China's frenzied contemporary society, using toys, dolls and complex mirror spaces to construct a bizarre, fantastical space that contains thousands of strange life forms.

▲启示录 NO.2 Revelation NO.2丨 镜面不锈钢、霓虹灯管、丙烯Mirror, stainless steel, neon tube lights, acrylic paint丨244x244x7cm丨2019

就这样一个彻底由艺术家虚拟与臆想的奇幻世界在邓国源的手里诞生,他彻底构建了一个他愿望出来的平行于实际的设想与隐喻的世界,经过这个巨大的虚拟实际的内涵逻辑和丰厚表征来展示一个敏锐的艺术家关于传统文明的深入考虑、关于当下实际的尖利情绪以及关于未来预期的深远担忧。

In this way, a magical world of the artist’s imagination and fabrication has come into being in Deng Guoyuan’s hands. He has fully constructed a complete, parallel world of speculation and metaphor, the inner logic and rich manifestations of which reveal a sensitive artist’s profound thinking on traditional culture, incisive attitude toward the present reality, and deep concern for the prospects of the future.

————梁克刚 Liang Kegang

▲蜻蜓占据了山君的花园 Overall effect丨Dragonflies Conquer the Tigers Garden NO.1丨Aluminium sheet, glass mirror, modified toys, acrylic paint, enamel paint丨铝板、玻璃镜、改装玩具、丙烯、油漆丨200x180x30cm丨2019

邓国源的艺术发明使他有机遇进入许多杂乱而风趣的范畴。这些杂乱的范畴既有形而上学的方面也有生物形状的层面。艺术家好像以逾越惯例世界的方法处理物质和方法,然后进入逾越一般事情和惯例行为感知的更为宽广的愿望范畴。邓国源能够依据愿望的平行实际构建特殊世界,这一点具有重要的含义。这种实际包含了艺术家的我国传统,而且他一起穿行于其他影响人类日子方法的思想体系之间。正如邓国源清晰表明的那样,他愿望中的世界现已脱离了他身处的实际日子。这是一个天壤之别的世界,一个咱们等待那些永久处于发明新思想体系的艺术家们能够发明的世界,而这些思想体系大部分都在日常日子的规模之外或之上。

In the context of this statement, I would like to introduce the work of the artist, Deng Guoyuan, whose involvement in art has taken him to many areas of investigation, both complex and intriguing. The complexity has a metaphysical aspect to it as well as a biomorphic one in that he appears to be dealing with matter and form in ways that 【展览预告】邓国源大型个展将于5月12日在德国科布伦茨路德维希美术馆开幕!go beyond the normative world into a vast imaginative territory that surpasses ordinary events and perceptions of routine behavior. What strikes me as significant in Deng’s work is his ability to construct an alternative world based on the parallel reality of the imagination. This realityencompasses the artist’s Chinese tradition as he concurrently moves through other galaxies of thought that propose to impact the course of human life. As Deng has made clear, the world of his imagination is one removed from how he lives in the reality of the present. It is a vastly different world, one that we might expect from artists who are perpetually in the process of inventing new systems of thought, which is, for the most part, outside or beyond the reaches of everyday life.

▲(部分)蜻蜓占据了山君的花园 Detail丨Dragonflies-Tigers丨Aluminium sheet, glass mirror, modified toys, acrylic paint, enamel paint丨铝板、玻璃镜、改装玩具、丙烯、油漆丨200x180x30cm丨2019

关于艺术家邓国源而言,他描绘的图式从古代到现在,终究走向不知道的未来。他从《洛利的花园》开端在著作中加入了立体的太湖石。他使用了钢管和LED灯进行几许结构,而不是天然方法的岩石。当观众在漆黑的空间中看到这件著作时,结构的多样性令人入神,人们是否能联想到古代的曩昔现已无关紧要。实际上,这些方法为“文人之石”赋予了新的相貌,或许更契合后现代的现状。另一类被称为《诸神的花园》《“新山海经”——诸神之像》的著作也是一种寻衅,但却以一种天壤之别的方法进行。在这里,艺术家自行改变了玩偶和各种玩具的外观。他限制的焦虑与未来有关,并开端在“科学”骤变和人工智能的失控中体现出这种焦虑。

For the artist, Deng Guo Yuan, the schemata he has outlined moves from the ancient past into the present and ultimately to an unknown future. He begins with his “Lorely’s Garden” in which he constructs cubistic taiku rocks. Instead of the natural form of rocks, the structures are geometrically constructed using steel pipes and LED lamps. The variety of these structures, when seen together in a darkened space, is mesmerizing. Whether of not, one thinks of the ancient past is almost irrelevant. The fact of the matter is that these forms give a new look to “scholars’ rocks” and are perhaps more in keeping with the postmodern present. Another category referred to as “The Gardens of the Gods and Gods of a New Classicism of Mountains and Rivers” is also a provocation, but in a vastly different way. Here the artist is morphing the appearance of dolls and various toys through his own set of mutations. His suppressed anxieties relate to the future and begin to reveal themselves both in terms of “scientific” mutations and the out-of-control usage of AI (artificial intel【展览预告】邓国源大型个展将于5月12日在德国科布伦茨路德维希美术馆开幕!ligence).

▲(部分)蜻蜓占据了山君的花园 Detail丨Dragonflies-Tigers丨Aluminium sheet, glass mirror, modified toys, acrylic paint, enamel paint丨铝板、玻璃镜、改装玩具、丙烯、油漆丨200x180x30cm丨2019

在一系列被称为《启示录》的著作中,邓国源进一步研讨霓虹灯和文字。他进入了一个高度虚拟的人工智能世界,失去了对自我的操控。在《飘逝的诸神》中,他的灯火设备直接根据基因骤变、人工智能编码和量子物理学。在研讨这些项目时,邓国源开端忧虑未来。尽管这一切都是庞大的神话,但是他也好像致力于将这些结构视为经过大天然开展的生物形状体系,由于他将这些体系提升到一个超实际的环境中。从实质上讲,这是一个人们或许以为与实际世界平行的隐喻世界。这是一个愿望世界,在不断开展的过程中掩盖了咱们对人类数千年习气的了解。邓国源作为一名艺术家,好像在以这样的方法对曩昔的实际进行应战,当咱们盯着他的镜像设备时,就会发现那里充满着许多细小的愿望中的日子。尽管咱们或许不知道咱们终究认知到了什么,但咱们知道它们来自于无认识,而不是忽然进入咱们的认知世界。

In a series of works referred to as “Revelation,” Deng goes further in working with neon signs and words. He enters into the virtual world of a heightened artificial intelligence that has lost control of its own facility. In “The Passing of the Gods and Apocalypse,” his exorbitant light installations are directly based on genetic mutations, AI codifications, and quantum physics. Deng claims to worry about the future as he proceeds to work on these projects – all part of a grand myth – yet he also appears committed to realizing these structures as biomorphic systems emanating through nature as he elevates these systems into a hyper-surreal environment. Essentially this is a metaphorical world that one might consider parallel to the reality of another world. It is a dream world exploited and developed in a manner that obscures our understanding of what human beings have grown accustomed to over thousands of years. It would appear that Deng Guo Yuan’s position as an artist is to challenge the reality of the past in such a way that we stare into his mirrored installations where tiny specimens of fantastical life abound. While we may not know exactly what we are perceiving, we understand they are something from the unconscious than has suddenly come into our conscious world.

咱们能够称之为一种新的思维和调查方法吗?这是或许的,但也是常见的吗?这一点在超实际主义、极点写实主义、新达达以及其他很多的著作中都有所触及。但这些都是西方的艺术方法,在我国的语境中不是有必要的。因而,现在或许是咱们改变视角观看邓国源极为严厉的系列设备的正确机遇,由于他的著作是逾越了现代主义的文明的产品,从沉重的曩昔改变为已然开端开花结果的后现代阶段,远远超出了半个世纪前西方世界的愿望。实际上,正是这个时分,像邓国源这样的艺术家才干以其科学的和伪科学的方法影响我国艺术的方向与未来。他发明的神话般的生物引起了咱们的共识,地球上的生命或许仍然是激起人类愿望力的源泉。人类经过文明沟通能够相互了解,而这些生物供给了极好的或许性。

Might we call it a new way of thinking and seeing? This is possible, but also commonplace? It has been said before in the work of the Surrealists, the Hyperrealists and the Neo-Dadaists, among countless others. But these are Western forms of art, not necessarily Chinese. Therefore, it may be the right time to turn the tables and to look at Deng’s array of intensely severe installations as being the result of a culture that skipped over modernism and moved directly from an oppressive past into a postmodern phase that has now begun to blossom into something far beyond what the Western world would have imagined a half-century ago. Indeed, this is the time for an artist like Deng Guo Yuan to emerge in coming to terms with how the impending future with all its scientific and pseudo-scientific baggage impacts the direction of Chinese art. His fabulous creatures exert a resonance that life on Earth may still be the source for the human imagination to spring forth. They offer fantastic qualitative possibilities for how to think and understand one another through the medium of cultural exchange.

————罗伯特摩根 Robert C. Morgan

▲ 飘逝的诸神Passing of the Gods| 改装玩具、丙烯、油漆modified toys, acrylic paint, enamel paint丨630x200x380cm丨2019

▲ (部分)飘逝的诸神 Detail丨Passing of the Gods|改装玩具、丙烯、油漆modified toys, acrylic paint, enamel paint丨2019

本展览展期将继续至2019年6月12日。

The duration of the exhibition is May 12 — June 12 , 2019.

艺术家邓国源 ARTIST DENG GUOYUAN

▲邓国源

邓国源,闻名艺术家,天津美术学院原院长,教授,博士生导师。

个人展览:

2019年 《蝴蝶占据了恐龙的花园》——路德维希博物馆 科布伦茨 德国

2017年 《熵矢—邓国源著作展》 艺术天津 我国 天津

2016年 《诺亚花园》 ——红砖美术馆 我国 北京

2016年 夏日达沃斯新领军者年会主会场《第四次工业革命-转型的力气》——梅江会展中心 我国 天津

2016年 《湖畔花园——邓国源西太湖水墨、设备著作展》——常州西太湖美术馆、刘海粟夏尹乔艺术馆 我国 常州

2016年《在花园——邓国源今世艺术展》53美术馆——大型设备艺术展 我国 广州

2015-2016年《在花园——邓国源今世艺术展》岭南美术馆——水墨绘画展 我国 东莞

2011-2012年《在花园——邓国源著作巡回展》——巴克奈尔萨米克美术馆 美国,新伦敦城艺术中心美术馆 美国,雪城威尔豪斯美术馆 美国

2008年《在花园》路德维希博物馆 德国 科布伦茨

2007年《你在花园》天津美术学院美术馆 我国 天津

2005年《DISTANZ》 阿尔夫普兰画廊 德国 杜塞尔多夫

2005年《DISTANZ》德国盖温巴赫博物馆 德国

2004年《FROM THE NATURE IN THE METROPOLSIN ROTATION》杜塞尔多夫艺术家中心 德国 杜塞尔多夫

双年展:

2019年 《诺亚花园II》 德国北方艺术节 德国 弗伦斯堡

2017年 《我国西部世界双年展》内蒙古美术馆 呼和浩特

2016年 《An Atlas of Mirrors》新加坡双年展 新加坡美术馆 新加坡

2015年 《京都双年展》 京都美术馆 ,京都 日本

德国路德维希美术馆(科布伦茨) MUSEUM LUDWIG,KOBLENZ

▲德国路德维希美术馆(科布伦茨)外观(图片自网络)

路德维希美术馆(科布伦茨)位于在被称为德意志之角和德国最美遗产的科布伦茨市。该美术馆是一座具有800多年前史的陈旧修建,该美术馆的保藏包含了格哈德里希特(Gerhard Richter),巴勃罗毕加索 (Pablo Picasso)、安迪沃霍尔(Andy Warhol),让杜布菲 (Jean Dubuffet)、皮埃尔苏拉奇 (Pierre Soulages) 和谢尔盖波利雅科夫 (Serge Poliakoff) 等许多现代主义大师的创作。自1992年开幕以来,科布伦茨路德维希博物馆便活跃与世界各国打开现代艺术沟通、举行世界展览项目。

科布伦茨路德维希博物馆的共同理念促进了它与今世艺术之间的联络。该博物馆所举行的展览代表了多个声响之间的沟通,并常常担任起法国艺术组织与研讨单位之间的调解人人物。博物馆还举行过包含阿尔曼(Arman)、本沃提埃(Ben Vautier)、贝尔纳维勒(Bernar Venet)、伯特斯坦(Bert Stern)、肖恩斯库利(Sean Scully),杰夫昆斯

(Jeff Koons)、安塞姆基弗(Anselm Kiefer),等世界闻名艺术家的个展。

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