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激愛碰碰車  鄧詠涵　

鄧詠涵的「激愛碰碰車」是本非常精彩的小書，第一次看到的時候是在荒花書店，濃濃時代感和鮮明對比的正色調一下子吸引了我的目光。舊色情雜誌上的做愛場景現在來看都像是大開濾鏡的棚拍沙龍照，情色雜誌拼貼有點惡意、拙劣的塗鴉，每個女優都配備了少女漫畫的閃閃大眼，不小心就想到以前特別愛看的少女漫畫愛情火辣辣，相信詠涵一定也懂～ 荒謬上再加荒謬，激愛碰碰車的視覺語言Q彈又性感，想著真的有人讀了就會興奮嗎？然後就不知不覺一頁一頁翻下去停不下來ㄌ

Sexy Love Pong Pong Car Han Teng

“Sexy love pong pong car” is a stunning zine- is consists of an collage of old pornographic magazines overlapped with eye-catching drawings. The “sexiness” of the photos are so outdated that they appear almost comical to the contemporary eye. The blurry filter renders “romance” in every photo, and with Teng’s signature (bad) taste in drawings, i.e., the added exaggerated dewy cartoon eyes, hilarious faces expressions, etc., the visual language becomes sexier. You may wonder if anyone would actually get hard by looking at these images...but one thing’s for sure. It’s hard to stop looking.

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隱秩序 FLOWer - artist edition by 楊雅淳 Yo Yang

日本設計事務所DAN TOMIMATSU進行設計和概念主導，並由DESIGN ISSUE製作發行的FLOWer，邀請藝術家楊雅淳和文字創作者陳依秋進行合作FLOWer artist edition。

​​收錄楊雅淳系列作隱秩序和陳依秋文字To be a flower，於2018年草率季首次發表，首刷100件。

規格 | 105 x 150 mm / 146 pages 材質 | 描圖紙

影像 | 24組 概念 | 富松暖 DAN TOMIMATSU

攝影 | 楊雅淳 Yo Yang

文字 | 陳依秋 Yichiu Chen   發行 | DESIGN ISSUE CO.,LTD 設計 | Minako Kitahara​

版次 | 100

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宜宜的多種人格說故事時間 黃忻宜

小紅書的背面「“MY DOUBLE CHIN IS MY PET”— YIYI 2018 」就是整本書再合適不過的註腳。宜宜的多種人格說故事時間像小學生上課偷偷交換的小本本或貼紙簿，是怪奇角色和荒謬軼事疊成的多重宇宙，邊讀邊不自覺在角落發花癡笑。有現成照片有神秘漸層還有小圓點貼紙，融合成獨樹一格的宜宜寵物角色們。書分成喜怒哀樂四部份，文本巧妙運用發音聯想，有一隻 cat （貓）名叫 Caterpillar（毛毛蟲），有一隻 caterpillar 名字是 Cat，故事就這樣開始了，扭轉那些我們熟爛的寓言，醜小鴨乖乖長大變美天鵝、金斧頭銀斧頭訓誡誠實寶寶好棒棒，宜宜的主角們經歷了一番不得不的自我冒險，啪的一聲結尾都變成「？？？我剛到底看了什麼？？？」。耐人尋味的圖像拼貼在腦海跳跳糖，荒謬的劇情轉折最後換來一句草莓口味的「關你屁事」，真是破除大人世界偽善的寶貝書。家庭萬用良藥宜宜故事時間，拯救您的憂鬱換季症候群～

開本 : 15 cm x 11.8 cm 頁數 : 82頁 年代 : 2018

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STORY TIME PRESENTED BY YIYI'S MULTIPLE PERSONALITIES Zoe Huang

15 cm x 11.8 cm 82 pages Self-published Printed in 2018

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蓬萊 Kris Kang ╳ 紅林

蓬萊與其名相反，不若渺渺而無法觸及的仙島，反而是一本充滿觸覺之書。攝影師 Kris Kang 和插畫家紅林在裝幀上下足功夫，第一手碰到的蓬萊書腰是綿鬆的中式用紙，欲打開書，以花紋透明壓克力板製成書封書底，蓬萊更像一個以幻夢封存的物件，亮晶晶有點易碎。照片裡各種寶貝，裸體、假人、大量神的塑像，夢幻光線與風景穿插，該是隨拍的卻感覺擺拍了，影像裡捕捉真實中各種人為介入，日常鮮豔異常，真真映襯了假假。影像亦交錯亦相疊，自然風光框住了人造奇景，精巧的插畫使用更突顯攝影真實／非真實的本質，像是照片上畫的一個一個小眼睛，哪裡是誰的蓬萊我們都在看。蓬萊把手伸進生活中人人試圖美好的間隙之地，在攝影師和插畫家之眼的交錯地帶，原來日常和人早已自行創造了奇異山水，是謂蓬萊。

尺寸：250 x 170 mm 頁數：36 pages 語言：中 / 英 ��數 : 50 年代 : 2018

Utopia KRIS KANG ╳ Hori b. Goode

25 x 17 cm 36 pages Chinese / English Limited Edition 50 copies Printed in 2018

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DEAR VIETNAM 林諭志

兩種封面，內容相同。

開本：21.5 x 28.4公分 頁數：64頁 年代：2018

DEAR VIETNAM Lin Yu-Chih

Two covers, same contents.

21.5 x 28.4 64 pages Printed in 2018 Self-Published

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A flower is not a flower 張卉欣

A flower is not a flower 的所有照片都放在一個看起來很有份量的黑色資料夾裡，大部分都沒有裝訂過，除了當中一本藍色絨布小冊子。影像本身像是精心擺放的雕塑裝置，照片大大小小各式尺寸非常精準，張卉欣在書裡的照片每張都有明確規格，毫無誤差。觀者可以自行排列閱讀順序，照片有雙面及單面印刷，各種不同排列組合讓此書有好幾萬種觀看方式。讓人驚喜的是，書還另附作者挑選的隨機物件，及物件本身的相片，讓你擁有照片的同時也擁有被攝物，作者以此舉對照片的真實性提出疑問，你放在手上的物件是否真的曾經在照片中存在過呢？

0/4 - 漆黑文件袋外包裝 1/4 - 25.5x35cm / 單面印刷 / 無裝訂 15p 2/4 - 21x29.7cm / 雙面印刷 / 無裝訂 32p 3/4 - 14x20cm / 雙面印刷 / 騎馬釘 32p 4/4 - 隨機物件與其相片

版數：200 裝幀設計 : Jefu Huang 年代：2015

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A FLOWER IS NOT A FLOWER Hui-Hsin Chang

All the photos in “A flower is not a flower” have been placed in a rather heavy looking black folder. Most are not bound, apart from a very particular set that has been made into a blue velvet booklet.

These images are more like a sculpture installation, precise and exact in size. Zhang’s photos are clearly defined and absolute. The format allows viewers to make their own sequence. By arranging single and double sided images, the viewer can have an infinite amount of interpretations by playing with the order and alignment of the images.

Surprisingly, the book also comes with a random object that has been hand selected by the author, alongside a photo of said object. The author seems to want to question the reality of the photo.

Did the object in your hand ever really exist in that photo?

0/4 - Black document envelope 1/4 - 25.5x35cm / Single side print / 15p 2/4 - 21x29.7cm / Double side print / 32p 3/4 - 14x20cm / Double side print / Sidle Stiching 32p 4/4 - Random Object with its Photograph

Limited edition 200 copies Designed by Jefu Huang Self published Printed in 2015

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AGEING OBJECT 3 POSTERS 

林君燁

從Ageing Object書裡拿出三張，三張照片三個字眼，一份是一個句子。 印了五份不同的句子，隨機出貨。

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Ageing Object是布拉格三年的底片中檢選出來的物件，貼在決定搬走前最後一個家的牆上，每天經過的時候在照片旁邊的post-it上寫不同的名詞，最後揀選編輯起來。一張照片和一組名詞一單位，三個單位一個句子，反覆之間試圖形成一種新的讀照片的方法。偷用一個厲害詩人的後記，她說 「......那麼即使詩可能是失敗的，希望企圖可以留下来。」

也是可以看成厚厚一疊的累積下來的變舊物品集。爽怎麼讀就怎麼讀。

印刷 : 黑白數位印刷 尺寸：29.7cm x 42cm 年代：2018

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AGEING OBJECT 3 POSTERS Lin Junye

Between photographs and words, there’s an ambiguous land. In this book, there's an object on one page which named by another object. The intention is to explore the relation between an image and a word/caption, to combine them as a unit. To use this unit to construct a line and sequence these lines to form a rhythm of a abstract poetry. It could also be seen as a simple memoir of a three years stay in a distant place -- a witnessing process of surrounding objects be aged.

A poet who once sees words could be sense as different color, in this term, she cut out the words and phrases in her old poetry book piece by piece, then make the collage by the new color order to re-write a new poetry: “...although the poem could be failed, hope the intention would stay”.

4 pages in one pack 29.7cm x 42cm Self published Printed in 2018

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Nxx    許乃文

相較許乃文上一本攝影書絕句的嚴謹、一絲不苟，Nxx 給人相對從容而私密的印象。筆記本線圈式的裝幀和穿插的留白頁，讓觀者可以專心閱讀單張照片。書裡涵括了作者近兩年間的照片，黑白與彩色照片交錯，影像編排抒情，沒有明確的敘事線，故事像是沒有開頭也沒有結尾。美好而寧靜的風景反覆出現，陽台上的滿天星斗，湖邊倒影的翠綠森林，夜裡搖盪的樹叢，���平浪靜的港口，吃了一半的早餐，彈奏中的鋼琴，航行中的機外景象，畫面起伏像ㄧ首行板的樂曲，不太急，只是慢慢地演奏著它的故事。

開本 : 20 x 28.7 cm 頁數 : 20 版數 : 10 裝幀 : 鐵圈式裝訂 年代 : 2018

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Nxx Nai-wen Hsu

Compared to the rigorousness of Hsu’s previous work, “Kosmos Makros Chronos Paradoksos”, her latest photobook “Nxx” feels more relaxed and intimate. The wire bound binding has intentionally inserted blank pages so the reader can concentrate on a single image at a time. Most of the photographs are from the past 2 years, interwoven with colored and black & white images in a  lyrical sequence. There isn’t a clear storyline that tells us where the story starts and ends. The only consistent element is a peacefulness that appears repetitively throughout the book. The starry sky view from the balcony, a reflection of the leafy-canopy forests on the lake...waving trees in the night, the peaceful pier, a half breakfast, playing piano, the view looked out during the flight- Just like a song in andante, slowly telling its own story.

20 x 28.7 cm 20 pages Wire bound binding Limited edition 10 copies Self-published Printed in 2018

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GOOD NIGHT  楊雅淳

翻開Goodnight有各種姿態的花，或插在水裡或卡在某物件縫隙之中，而花像是脫離了生的狀態，正在往彼岸長去。封面的照片和作者的日本經驗連結，「『過去』的那個人桌上，會獻上一束花，通常都會放個一段時間」，彷彿書一被看見就先預示了接下來的死亡。一般被拍下來的花朵通常鮮嫩、盛放、春天，楊雅淳的花靜物從一而終，常是一種纖細的腐爛的狀態，像是從生命的最盛放開始倒數。翻著書不知道為什麼一直想到陳綺貞的腐朽，女歌手有點甜膩地哼「美麗會凋零 泥土 埋葬森林」，書和歌一樣看著該是美麗的題目，但其實是目睹某種絕地再生，如攝影者寫下的「生命本來就是秒殺式的瞬間阿」。於是呼應了書的命名，每個小小的死亡都可以是重生。道晚安是一天的結束，也是下一天的開始。

開本 : 15x 21cm 頁數 : 64 設計 : 何佳興 Timonium Lake 年份 : 2013

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GOOD NIGHT  Yo Yang

“Good Night” features many flowers in various poses - here and there, stuck between objects or inserted in water. The flower is a manifestation of a moment on its way to “paramita”. In other words, completeness.

The photo on the cover is a reflection of the author’s experience in Japan- a vase of flowers resting on the table of the “Past” like an omen of death. Flowers are usually photographed while fresh and full, but the still life of Yang’s flowers are a constant state of beautiful decay, counting down the days until even the most prosperous of states turns to degradation. I don’t know why I am reminded of Cheer Chen’s downfall, as she over-sentimentally screeches out: “Beauty will ruin the soil and bury the earth.”

The books and the songs will make it look pretty, but what is really being witnessed is more of an awakening or regeneration. As the author says “Life is really just a series of instants,” and so this is echoed in the title of this book. Every insignificant death can become a rebirth. Saying good night at the end of the day merely marks the beginning of tomorrow.

64 pages 15cm x 21cm Designed by Timonium Lake Self published Printed in 2013

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新攝影 汪正翔 李承翰

「這是一本由文字所構成攝影集，關於各種新的攝影方法、規則與指示。裡面絕對沒有照片，看了也不會感動，更沒有收藏的價值。」上述都是作者自己說的。第一眼看見新攝影，覺得這本毫無影像的書怎麼出現在攝影書區，「這本書到底想幹嘛 ？」翻來翻去只有灰色條紋。無影像書原來是逐格動畫，只要快速翻閱，書邊的字遂一格一格成完整字句。終於可以被讀取的影像是作者對於「什麼是創作？」的自問自答。 攝影創作機制的本質是什麼呢？ 然而「新」對作者而言是最重要的。但什麼樣的創作才是「新」? 此書提供各式有一點中二但又正經八百的解法供大家參考。

開本：21cm x 14.8cm x 3cm 頁數：180頁 年代：2017 售價：650元

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NEW PHOTO  Sean Wang and Lee ChenHan

The author has said this: “ This collection is composed entirely out of words. It’s a new methodology in photography - there’s absolutely no images. They don’t stir anything in the viewer, and therefore have no value. ”

You might be wondering, “ how could this collection be in the ‘photography’ section of the bookstore? What does it do? What is it for? ” When you look through it, all you see are grey strips.

If you flip through quickly, the words in the grids make a complete sentence, in the style of stop motion animation. This is probably how the author is answering the question: “ What is creation? What is the natural creative mechanism of photography?”

It seems that “innovation” is the most important aspect in this book. Yet in that case, what does “innovative” even mean? This book provides a kind of reference to what that might indicate with a variety of eclectic but succinct ideas that may help you answer that question.

180 pages 21cm x 14.8cm x 3cm First edition Self published Printed in 2017

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物色 鄭弘敬

物色比想像中輕薄，重印的鄭弘敬的第一本 zine 非常乾脆的只有滑滑幾頁。封面黏著兩張 post-it，一張是作者和書名，另一張寫著：2011 秋天從底片 → 相紙 → 影印紙 → 底片 → 螢幕 → 影印紙。原來物色是重製再重製的結果。拍攝的底片沖洗、數位化、噴墨印在相紙上，成為第一版影像書，之後再次掃描相紙上的同一批影像印製成最終版的物色。在影像不斷的轉化的過程中，影像的意義是否也隨之轉變？照片沒有複雜圖像、表面看上去皆是大色塊。這些有點無聊的照片中的物件因爲多次重製而模糊、色偏，徒留表象，一如書名。被鄭弘敬看著��著，不耐煩的物與景色好像也有點意思了。

開本：14.8cm x 21cm 頁數：18頁 版數：300 年代：2016

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Wù Sè Teikoukei

Wu Se is Tekoukei’s reproduction of his first zine. It’s very light weighted, simply just few pages printed on glossy paper. There are two post-it stickers on the cover with hand writing, one is the book title and author’s name; another is : 2011 autumn from films → photographic paper → copy paper → films → screen → copy paper. Finally, we realized that the zine we’re holding at is the result of the reproduced reproduction. The developed films have been digitized then printed onto photography paper, then became the first edition of Wu Se. This time, Tekoukei directly scanned the same printed photographs and reprinted into this finalized version. The aim is to question if the process of transforming the images will change the meaning of images or not? These photographs have no complex details, they seems more like big color lumps. However, the objects in these scenes are blurred and color shifted, only the representation is left, just like the title of this zine. Through Tekoukei’s eyes, these dull sceneries seems not that boring any more.  

14.8cm x 21cm 18 pages Limited edition 300 copies Self Published Printed in 2016

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森寶利佛像圖 劉兆慈

海報選自神聖的充滿第一冊，以閃亮亮的金銀箔鑲嵌紅包紙印製，過年招財納福、送禮自用兩相宜。

尺寸：29.7 cm x 42 cm 印刷：黑白平面印刷 年代：2018

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SAINSBURY'S BUDDHA POSTER Liu Chao-tze

This poster is selected from “An Ultimate Guide to Zen Living vol.1”. The picture was taken at the shelf of a Sainsbury’s supermarket in the UK. We printed black and white on the same glossy red material that red envelopes are made of. This makes for a lovely gift or simple decoration in the home that may bring you good luck.

29.7 cm x 42 cm Black and White Laser Print Limited edition 10 copies Printed in 2018

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飛肥匪廢 陳藝堂

飛肥匪廢是陳藝堂於 2017 年與 Waiting Room 合作出版的全彩攝影書。Waiting Room是一個集結獨立音樂、服飾、滑板文化和獨立出版的廠牌，從他們店裡的選物可以看出老闆們的任性，只賣自己喜歡的東西。發摟陳藝堂的照片許久，非常喜歡從他的鏡頭看出去的台北 （各種台北並非只有地理指涉的那個）。他總是能抓住蕭肖青年們各種耍廢、瘋癲、消耗青春的模樣，非常的當下，如同正在上演的劇場。飛肥匪廢裡的人像是劇場演員，生活照也變成擺拍，說到底我們親愛的人生的不正是民視的各種兩百集長壽劇嗎？

頁數：56 頁 開本：18 cm x 26 cm 版數：500 本 年代：2017 Waiting Room 出版

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FAT FAT NOT COOL Etang Chen

“Fat Fat Not Cool” is a published collaboration between Etang Chen and Waiting Room in 2017. Waiting Room is a brand that features independent music, clothing, skateboards, and also zine publishing. From their store front, one can already see the unruliness of the owner of the brand. Only objects approved by the owner are sold. When they discovered Chen’s photography, they really appreciated his interpretation of Taipei through photos (Taipei really isn’t just what people see from its geography).  They have always been able to miraculously capture the recklessness and timelessness of youth, as if it was performed. In “fat fat not cool”, the people seem like actors. Candid shots seem especially coordinated. It makes us question: is this life of ours really just like those ridiculously long and melodramatic soap operas that play nonstop on the TV?

56 pages 18 cm x 26 cm Limited edition 500 copies Published by Waiting Room Printed in 2017

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Kus Kus zine  林君燁 張芮慈

「隨著我們越來越認識『空間』並賦予它價值，一開始混沌不明的空間就變成了『地方』。『空間』和『地方』的觀念在定義時需要彼此。『空間』是個比『地方』更抽象的概念。」—— 段義孚

一個部落的歷史和它的空間之間的關係是一個宏大的命題。Kus Kus Zine是初步將空間視覺解構的嘗試，標誌出一個部落在不同時期、歷經不同外來文化時所留下的痕跡。大開本是強制性的建築，例如廟和學校，一個跨頁裡的左右兩邊，各出現一個地方和那個地方的「神」。內嵌小冊捕捉細微的植入鑿痕，可能是小學裡漢人重新轉譯的部落圖騰，可能是某個紀念碑長時間印壓土地搬走後生成的色差，小開本是從大開本的「地方」中孵出抽象的「空間」文本，期待觀者在看起來平常的風景中生出一點突兀的「蛤？」。

開本：29.7cm x 21cm、21cm x 14.8 cm 頁數：大開本14頁、小開本22頁 年代：2018

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KUS KUS ZINE Lin Junye and Chang Juitzu

“ What begins as an undifferentiated space becomes a place where we are able to acquaint ourselves with it and imbue it with value … The ideas of ‘space’ and ‘place’ require each other for the very definition [...] "Space” is a more an abstract concept than “place”. － Yi-Fu Tuan

The history of a tribe and its relationship with its space is a broad proposition. Kus Kus Zine is trying to visualize the deconstruction of the space, bringing to attention the trace of a tribe throughout different colonial times from various foreign cultures. The zine consists of two versions of different size: The bigger of the two is composed of photographs of local buildings which demonstrate the power structure within the tribe from different history periods, such as temples and schools. There is a ‘place’ of the building juxtaposed with the ‘god’ of the place on each spread page. The smaller zine inside focuses on the close-up details of colonial traces - some evident, like the redesigned aboriginal patterns on Taiwanese elementary schools, or how certain moved monuments leave a presence. The smaller zine makes an abstract narrative that draws out the solid and notable spaces from the bigger zine. The intention is to question the viewer and hope that they will find something unexpected within these ordinary circumstances.

40 pages 29.7cm x 21cm (14 pages)、21cm x 14.8 cm (22 pages) Self published Printed in 2018

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麻吉世界  鄧詠涵

麻吉世界是鄧詠涵的最新力作，厚厚一本，像是有點歪掉的圖鑑百科。作者以手機拍下生活裡的各式物件和平面影像，有我們熟悉的，也有長得很落漆的；有真實世界裡的真寵物們，也有你根本叫不出名字，但好像又在哪部動畫裡看過的動物玩偶。

小時候看的卡通裡，很多主角都是動物。動物們是人類最好的朋友。長大後再回頭看這些被大量山寨和再現的卡通明星，例如：長得很瘦的凱蒂貓、看了並不會比較想進去的牙醫診所牙齒寶寶、一直陰魂不散的笑臉符號和完全不像小兔的美少女戰士面膜⋯⋯一旦把眼前的畫面跟回憶中的卡通影像比對，產生的落差感總是令人有點哀傷。真實和虛構的影像，就這樣自然地穿插在我們的生活之中。儘管如此，一天又平安的過去了，感謝醜萌麻吉們的努力，歪歪卡通動物們，依舊會在街角某處守護著小鎮村 ♫

開本 : 148mm*210mm 頁數 : 68頁 年代 : 2018

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MA G WORLD  Han Teng

“MA G World” is Han Teng’s latest work. “Ma G” (simply translated as “best friend” in Taiwanese) is a knock-off illustrated dictionary printed in full color on glossy paper. Teng concentrates on images common in Taiwanese life, most of which were taken using a simple smartphone. Not only starring real animals, but also some well-known cartoon ones are featured alongside the off-brand version of themselves- many of these are familiar and nostalgic animations that aren’t quite placeable in memory. The anthropomorphic and relatable nature of these cartoon heroes make you forget that they’re animals, especially since they’ve been our on-screen companions since childhood. In retrospect, and no surprisingly, we come to realise that many of these animal characters were massively produced in a way that looked nothing like their original selves. The skinny faced Hello Kitty, weird looking tooth babies, a hundred different versions of smiley faces, a hideous sailor moon beauty mask... It is sad to make this observation, as it seems to tarnish our seemingly perfect memories. However, the real and the imaginary can co-exist in everyday life, and our “Ma G”s will have always been with us.

148mm*210mm 68 pages Self-published Printed in 2018

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精少壞一族 ZINE 3 精裝少年壞報

身為精少壞的instagram狂粉，真是深深佩服他的PS功力、源源不絕的哏以及惡（愛）意無限的幽默感。90年代到2000年初一直是我最喜歡的年代，是我認為的美好的時光，各種港片日本動漫都是經典中的經典，精少壞的創作元素也大多源於此。薄薄的少年壞報像是小學在柑仔店會賣的薄本週刊，滑滑亮亮的紙，看起來廉價但又合理到不行。敬請也期待新刊！

隨書附贈 PLAY STATION 雙變卡，廣末與4位花男的愛一次擁有🌹。

開本：14.5cm x 21cm 頁數：32頁 年代：2019

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WHY Z CLAN ZINE 3  Why Z Clan

As an avid instagram fan of “ Why Z Clan”,  I have always been deeply impressed by his photoshop abilities, biting punchlines, and a dark sense of humour that comes from a place of vivacity. The 90s and early 2000s have always been my favorite era. I consider it to be one of the best for pop culture: all of the foundations of Japanese animation and Hong Kong Cinema were born during that time, influencing countless forms of media even today. “Why Z Clan Zine 3” is one of those creations inspired by that period of genius, and is reminiscent of those comics you would buy after school in the grocer’s shop every week. It has a shiny cover with nice paper and even it looks cheap, but it makes so much sense! Look forward to every issue!

Include with PLAY STATION lenticular card

14.5cm x 21cm 32 pages Self published Printed in 2019

(SOLD OUT)

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中國城  蘇森弘（阿許）

蘇森弘似乎喜歡使用解析度低、極其模糊、跟10年前的手機拍出來沒兩樣的影像。上一秒跟下一秒有時毫無關聯，讓人摸不著頭腦。中國城裡，影像和影像之間幾無敘事性，說它們都是網路上下載的二次創作好像也可以。這樣的「壞」圖像在網路空間裡人人皆可取用，一次次被修改、編輯、添加字幕，歷經無數次的重新上傳，壞圖像終究不屬於誰。書末有一行youtube影片連結，我很認真的一個字母一個字母打出來google看看，結果竟然出現————（密）的影片。AUSH扭蛋機果然各種出其不意，賣個關子，想知道就買一本回家自己看吧。

開本：14.8cm x 21cm 版數： 無限 年代：2017

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CHINA TOWN AUSH

AUSH likes to use low resolution and ambiguity in his work. The images are ridiculously blurry...probably no different from an image taken by a phone from a decade ago. There seems to be an absolute discord from images taken only a second apart. It’ll leave you scratching your head! In “China Town”, there is no narrative that connects images and text. They appear curated like randomly downloaded jpegs from the internet, redownloaded, repurposed and reused many times over, constantly evolving. After a while, these butchered images can’t really belong to anyone.

At the end of the book, there are links to some youtube videos. I carefully typed out each hyperlink and found myself watching a very ———— (CONFIDENTIAL) video. If you’re feeling curious, why don’t you buy a copy and find out what we saw?

14.8cm x 21cm Self published Printed in 2017

(SOLD OUT)