Dutch conceptual artist Hans Eijkelboom's work is very much in line with the deadpan, seemingly mechanistic note-taking of Ed Ruscha and Hans-Peter Feldman. In Paris-New York-Shanghai , Eijkelboom creates a witty comparative study of three major contemporary metropolises, each selected for having been the cultural capital of its time--Paris during the nineteenth century; New York, the twentieth; and Shanghai, the twenty-first.
This uniquely bound three-volume accordion-folded set opens up to allow the reader not only to view each city individually, but also to compare simultaneously the three photographic studies of each metropolis and its citizens. The large-format cityscapes with the identifying quirks of each city and the snapshot-style grids of their inhabitants soon reveal how similar one city is to another today. For example, Eijkelboom's grids of mothers carrying their infants in Baby Bjorns, or men wearing striped polo shirts highlight the ubiquity of many of our most intimate possessions. As Eijkelboom writes, "Globalization, combined with the desire of cities for visually spectacular elements, is leading to the appearance everywhere of city centers that look the same and where identical products are sold." With an introduction by Martin Parr.
具體描述
讀後感
評分
評分
評分
評分
用戶評價
We are a product of the culture that we live in.
评分有點錶麵，有點逗
评分比《21世紀的人們》有趣，裝幀畫龍點睛。
评分或許作者不知道逛南京路的大部分是外地人。作為一本拍攝三座城市同一類（或錶麵上有相同點）的人、物的書，在人物的選取我認為是比較失敗的。我並不歧視外地人！盡管大量的外地人在上海一定程度上說明瞭上海的包容性，但人物選取時明顯的都是外地人，這就不能說明上海和在上海的人的特質瞭。如果作者這樣的傢庭作業都沒做好，那這書以及副標題就完全沒意義瞭。不過書的裝幀還是有新意的。
评分翻完這本書頓時覺得哪裏都不值得去，反正全世界都一個樣，待在上海就挺好。荷蘭藝術傢Hans Eijkelboom依次挑選瞭巴黎、紐約、上海。並在街頭拍攝這三個城市裏的街景和人探討無聊的全球化問題，三個城市裏的穿條紋衫的男人，開摩托的，還是齣租車司機，都像是産於同一個大工廠。
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