{"id":12501,"date":"2017-04-25T09:30:00","date_gmt":"2017-04-25T09:30:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=12501"},"modified":"2023-09-14T09:37:07","modified_gmt":"2023-09-14T09:37:07","slug":"chim%e2%86%91pom-so-see-you-again-tomorrow-too","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/chim%e2%86%91pom-so-see-you-again-tomorrow-too\/","title":{"rendered":"Chim\u2191Pom: So see you again tomorrow, too?"},"content":{"rendered":"\n

This piece is included in Ran Dian\u2019s print magazine, issue 5 (Spring 2017)<\/em><\/p>\n\n\n\n

\u201cHas the decision to host the Olympics not yet been made? Why is it that we dare not do such a thing?\u201d \u2014Deng Xiaoping, 1990<\/p>\n\n\n\n

Can we still remember the time when Beijing was bidding for the Olympics in 2000, when the grass in the Xidan area was sprayed green? The new Maquanying and Fourth Ring subway lines had opened, and construction had just begun on the fifth ring road; from 1998 to 2007, Beijing\u2019s investment in cleaning up environmental pollution amounted to 12 billion US dollars. The benefits of such an effort, however, do not extend into the present day, when pollution by 2.5 particulate matter persists in the city.<\/p>\n\n\n\n

\u201cHaving built sports facilities like this [the National Olympics Sports Center], if we don\u2019t end up hosting the Olympics, it would be half wasted.\u201d (Deng Xiaoping) The rebuilding of the National Sports Center was not only a practical measure taken to boost athletes\u2019 morale, it also meant the transformation of a popular sports event into a political event in which the nation\u2019s will was unconditionally implemented, and the violent threat of authority widely felt.<\/p>\n\n\n\n

Similarly, in Tokyo, harnessing the momentum of the 2020 Tokyo Olympics combined with the announcement of \u201canti-earthquake procedures\u201d after Fukushima\u2019s 3.11 earthquake, the government issued and enforced a series of urban redevelopment projects. In addition to Shinjuku Station, Shibuya Station, and Shibuya\u2019s PARCO department store, even the historical and trendy Harajuku Station is undergoing restoration. Correspondingly, Kabukich\u014d is pushing forward reconstruction plans for the entire district.<\/p>\n\n\n\n

Faced with such changing landscapes, the Tokyo art collective Chim\u2191Pom asks: why is it that we prioritize the so-called \u201cOlympics\u201d? Locals (including Fukushima locals) have expressed concern that, since Tokyo\u2019s urgent building projects are causing a shortage in construction workers, reconstruction after the 3.11 disaster has come to a standstill. Furthermore, the Japanese Government has been calling for international public opinion to rethink the meaning of the Olympics, calling it \u201cThe Recovery Olympics\u201d, and connecting it back to the 1964 Tokyo Olympics. After all, it was precisely those Olympics in \u201964 that helped Tokyo rise up from the ashes of post-war ruin; aided by the Olympian vision, Tokyo gradually developed into an international metropolitan city, from infrastructure-building to the renewal of its zeitgeist. While the will of the nation can only be expressed by competition with other countries, it is also constrained by all kinds of internal tension, which originates from efforts that accord the nation with fixed historical forms.<\/p>\n\n\n\n

But what is recovery? What is urban revitalization?<\/p>\n\n\n\n

\"Chim\u2191Pom\uff0c\u300a\u84dd\u56fe\u7ed8\u5236\u7248\u672c2\u300b\uff0c2016\uff08\u7248\u6743\uff1aChim\u2191Pom\uff1b\u9e23\u8c22\uff1a\u827a\u672f\u5bb6\u548c\u4e1c\u4eacMUJIN\u00adTO<\/a>
Chim\u2191Pom\uff0c\u300a\u84dd\u56fe\u7ed8\u5236\u7248\u672c2\u300b\uff0c2016\uff08\u7248\u6743\uff1aChim\u2191Pom\uff1b\u9e23\u8c22\uff1a\u827a\u672f\u5bb6\u548c\u4e1c\u4eacMUJIN\u00adTO Production\uff1b\u6444\u5f71\uff1aKENJI MORITA\uff09\/ Chim\u2191Pom, \u201cDrawing a blueprint version 2\u201d, 2016 (\u00a9 Chim\u2191Pom; courtesy of the artist and MUJIN\u00adTO Production; Tokyo, photo by KENJI MORITA)
<\/figcaption><\/figure>\n\n\n\n
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Chim\u2191Pom\uff0c\u300a\u84dd\u56fe\u7ed8\u5236\u7248\u672c2\u300b\uff0c2016\uff08\u7248\u6743\uff1aChim\u2191Pom\uff1b\u9e23\u8c22\uff1a\u827a\u672f\u5bb6\u548c\u4e1c\u4eacMUJIN\u00adTO Production\uff1b\u6444\u5f71\uff1aKENJI MORITA\uff09\/ Chim\u2191Pom, \u201cDrawing a blueprint version 2\u201d, 2016 (\u00a9 Chim\u2191Pom; courtesy of the artist and MUJIN\u00adTO Production; Tokyo, photo by KENJI MORITA)<\/figcaption><\/figure>\n\n\n\n
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Chim\u2191Pom\uff0c\u300a\u84dd\u56fe\u7ed8\u5236\u7248\u672c2\u300b\uff0c2016\uff08\u7248\u6743\uff1aChim\u2191Pom\uff1b\u9e23\u8c22\uff1a\u827a\u672f\u5bb6\u548c\u4e1c\u4eacMUJIN\u00adTO Production\uff1b\u6444\u5f71\uff1aKENJI MORITA\uff09\/ Chim\u2191Pom, \u201cDrawing a blueprint version 2\u201d, 2016 (\u00a9 Chim\u2191Pom; courtesy of the artist and MUJIN\u00adTO Production; Tokyo, photo by KENJI MORITA)<\/figcaption><\/figure>\n\n\n\n

Using scraps to reconstruct the future?<\/strong><\/p>\n\n\n\n

Chim\u2191Pom\u2019s new project \u201cSo see you again tomorrow, too?\u201d is located in the Kabukich\u014d Promotion Association Building, which, once a part of the Commercial Street Revitalization Union<\/em> project in 1964, cost 15 million Japanese Yen to complete. 52 years later, as part of the 2020 Tokyo Olympics \u201cRevitalization Project\u201d, this building will be demolished in October. Living in a constantly fluctuating urban landscape, the Japanese have come to accept the proposition posed by these buildings and their fate. In Chim\u2191Pom\u2019s opinion, historically speaking, Japanese people have acquired an aptitude for adopting a \u201cScrap and Build\u201d logic and method through their many confrontations with catastrophe. But does the future of the 21st<\/sup> century necessarily entail the re-deployment of 20th<\/sup> century vision? \u201cUsing \u201cScrap and Build\u201d as the theme of the exhibition, we will create a kind of experience that questions the \u2018method of making blue-prints\u2019.\u201d<\/p>\n\n\n\n

Works made using cyanotypes can be found throughout the building. In addition to being used in photography and the reproduction of architectural drawings, cyanotypes (or \u201cblueprints\u201d) can mean hope or new prospects when referred to in literature. Interested in this intersection between craft and meaning, Chim\u2191Pom created \u201cDrawing a Blueprint Version 2\u2033 on the fourth floor using cyanotypes\u2014a technique gradually becoming obsolete in 21st<\/sup> century architectural design\u2014to render a 20th<\/sup> century urban landscape that is slowly disappearing in the 21st<\/sup> century. What kind of sentiment does this combination conjure up: revitalization, progress, or regret? Likewise, in \u201cDrawing Mirai\u201d, a work on the second floor, Chim\u2191Pom uses cyanotypes to trace the outline of a sex worker. Calling herself \u201cMirai\u201d, this 18-year old appears in Kabukich\u014d, a district characterized by the sex industry, marginal groups, and entertainment culture, as well as hipster styles. Like any girl from Ichibangai Street, Mirai is a feature of this dazzlingly grotesque area\u2014it is precisely owing to the lives that enliven these streets that Kabukich\u014d can be said to bear witness to diverse ways of living, multifarious world views, and an unforeseeable future.<\/p>\n\n\n\n

For \u201cLibido-Electricity Conversion Machine\u201d, Chim\u2191Pom released small advertisements containing telephone numbers on multiple media platforms, disguising themselves as a telephone sex service. The idea is that the \u201csex drives\u201d generated by this work can be converted into electricity, a substitute energy for coal, oil, and natural gases: when a customer\u2019s call is received, this device would \u201cconnect with\u201d desire\u2014radio waves are converted into electrical power via the relay\u2019s optical sensors in order to keep the work running. In Kabukich\u014d\u2019s Ichibangai Street flow countless desires. In Shinjuku Swan<\/em>, a film directed by Sion Sono in 2015, a group of \u201ctalent agents\u201d seek out girls on the streets, luring them into the porn industry: \u201cWe want them to be happy, then use them to make money\u201d was their motto. In Kabukich\u014d, it is suggested that there is the potential for a mutual exchange of happiness and capital. Whether on screen or in real-life, it is, as the movie trailer says, \u201ca place to dream\u201d.<\/p>\n\n\n\n

Kabukich\u014d\u2019s urban planning chief Hideaki Ishikawa once said: \u201cTokyo is too big. To a certain extent, it is lacking in spirituality.\u201d Taking a dislike to big cities, Ishikawa stressed the importance of consumption over urban expansion and production, emphasizing in particular the development of the entertainment industry. As the officer in charge of Tokyo\u2019s \u201cWar Damage Restoration Plan\u201d, Ishikawa came up with the notion of \u201cpeople building the city\u201d in the belief that civic thoughts and actions mold the city\u2019s character. Therefore, the rebuilding of Kabukich\u014d was structurally centered around the plaza\u2014according to Western architectural theory, under a democratic government, the plaza is an urban space imbued with the functions of political debate, commercial exchange, and social interaction. Here, the activist work by Chim\u2191Pom seeks to place the \u201csoul\u201d of Kabukich\u014d under a two-level construction: one puts \u201cScrap and Build\u201d into action, drawing a \u201cblue print\u201d, while the other draws the ritualistic tone of Scrap and Build\u2019s logic into debates surrounding public space.<\/p>\n\n\n\n

\"\"
Chim\u2191Pom \uff0c\u300a\u529b\u6bd4\u591a\u7535\u529b\u8f6c\u6362\u673a\u201cErokitel\u201d\u7248\u672c\u300b\uff08\u7248\u6743\uff1aChim\u2191Pom\uff0c\u9e23\u8c22\uff1a\u827a\u672f\u5bb6\u548c\u4e1c\u4eacMUJIN\u00adTO Production\uff0c\u6444\u5f71\uff1aKENJI MORITA\uff09\/ Chim\u2191Pom, \u201cLibido-Electricity Conversion Machine \u2018Erokitel\u2019 Fifth Version\u201d (\u00a9 Chim\u2191Pom; courtesy of the artist and MUJIN\u00adTO Production, Tokyo; photo by KENJI MORITA)<\/figcaption><\/figure>\n\n\n\n
\"Chim\u2191Pom<\/a>
Chim\u2191Pom \uff0c\u300aBuild-Burger\u300b\uff0c 2016\uff08 \u7248\u6743\uff1aChim\u2191Pom\uff1b\u9e23\u8c22\uff1a\u827a\u672f\u5bb6\u548c\u4e1c\u4eacMUJIN\u00adTO Production\uff1b\u6444\u5f71\uff1aKENJI MORITA\uff09\/ Chim\u2191Pom, \u201cBuild-Burger\u201d, 2016 (\u00a9 Chim\u2191Pom; courtesy of the artist and MUJIN\u00adTO Production, Tokyo; photo by KENJI MORITA)<\/figcaption><\/figure>\n\n\n\n

Can society change art?<\/strong><\/p>\n\n\n\n

 \u201c(Can art change society?) We are not politicians. If politics can be said to change society, then art precisely proves that human nature cannot change. It would be better to reverse the question and ask, can society change art?\u201d<\/em><\/p>\n\n\n\n

Chim<\/em>\u2191<\/em>Pom[1]<\/em>\uff0c<\/em>2016.6<\/em><\/p>\n\n\n\n

Comprised of architectural waste, the installation work \u201cBuild-Burger\u201d runs from the first floor to the fourth. \u201cOffering\u201d, a detailed work within the installation, invites the audience to pile up rocks taken from among the waste material.  This gesture is inspired by the Japanese story On Sainokawara Dizou Wasan<\/em>, in which children who died under the age of ten would be sent to a place like the riverbank of Sainokawara, there they would pile up stones to make a tower. If they got to layer one, they would see their father; layer two, their mother; at layer three, they would become Buddha. But in the process of building the stone tower, they are constantly obstructed by the Oni (devil), so that the tower is continuously destroyed. But with the bodhisattva Ksitigarbha\u2019s help, these children are able to complete the tower so as to achieve samara. Going up the stairs, the entire second floor presents a domain of belief that maintains the balance of power: \u201cDowntown Paradox\u201d is like a robot vacuum\u2019s Zen exercise\u2014as a cleaning tool, it engages in the paradoxical labor of cleaning and polluting. Just like the paradoxical converter between \u201cscrap\u201d and \u201cbuild\u201d, the additive sum of normal cleaning procedures and acts of polluting\u2014equated with creative labor\u2014amount to zero in the structural system of conflicting logic; image creation and the erasure thereof co-exist in the same contradictory entity. Simultaneously, the seemingly unending cycle of karma seems to affirm that on the one hand, the labor of art activists exists constructively in political contexts; on the other hand, it also suggests that the ideological prospects that art activists hope to create are nothing more than an unrealizable future. Any realization of this goal is associated with time immemorial, yet art making is always grounded in the present\u2014ambitious outlooks dissipate in the infinite deferment of time. As a result, any kind of ideologically-motivated art, though simultaneously possessing positivity and criticality, is bound to negate as well as terminate its own project every time it materializes.<\/p>\n\n\n\n

On the third floor of the exhibition are \u201cSuper Rat\u201d and \u201cBlack of Death\u201d. In turning rats caught from the streets of Shinjuku into Pikachus, Chim\u2191Pom transforms action into spectacle, as flocks of crows circle the skies above Tokyo. Whenever people question what it is, exactly, that artistic actions can bring to society, there is already a presupposition that art, seen as useless, can only serve as the final celebratory act and express the status quo of aesthetics. Artists devoted to activism often attempt to change existing conditions at the social level, yet they cannot give up their identity as artists. As Boris Groys said, the \u201cart\u201d component in art activism is often seen as the main reason in which the activism itself fails at the level of practice and pragmatism in its immediate social and political impact. Therefore, the way to break free of this failure is to give up on art, just as, as long as social and political activism is not infected by the virus of art, it cannot fail. Now, problems concerning art activism found in contemporary art debates mainly deal with art\u2019s function as political protest, the arena or medium for social activism. Art activists are not only interested in working with art\u2019s system of critique and its mode of operations; conversely, they also hope to use art to change these modes of operation themselves.<\/p>\n\n\n\n

\"Chim\u2191Pom\uff0c\u300a\u8d85\u7ea7\u8001\u9f20<\/a>
Chim\u2191Pom\uff0c\u300a\u8d85\u7ea7\u8001\u9f20 \u2013 \u5b9e\u666f\u6a21\u578b\u65b0\u5bbf\u2013 \u300b\uff0c2016\uff08\u7248\u6743\uff1aChim\u2191Pom\uff1b\u9e23\u8c22\uff1a\u827a\u672f\u5bb6\u548c\u4e1c\u4eacMUJIN\u00adTO Production\uff1b\u6444\u5f71\uff1aKENJI MORITA\uff09\/ Chim\u2191Pom, \u201cSUPER RAT \u2013Diorama Shinjuku\u2013\u201d, 2016 (\u00a9 Chim\u2191Pom; courtesy of the artist and MUJIN\u00adTO Production, Tokyo; photo by KENJI MORITA)<\/figcaption><\/figure>\n\n\n\n
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Chim\u2191Pom\uff0c\u300a\u8d85\u7ea7\u8001\u9f20 \u2013 \u5b9e\u666f\u6a21\u578b\u65b0\u5bbf\u2013 \u300b\uff0c2016\uff08\u7248\u6743\uff1aChim\u2191Pom\uff1b\u9e23\u8c22\uff1a\u827a\u672f\u5bb6\u548c\u4e1c\u4eacMUJIN\u00adTO Production\uff1b\u6444\u5f71\uff1aKENJI MORITA\uff09\/ Chim\u2191Pom, \u201cSUPER RAT \u2013Diorama Shinjuku\u2013\u201d, 2016 (\u00a9 Chim\u2191Pom; courtesy of the artist and MUJIN\u00adTO Production, Tokyo; photo by KENJI MORITA)<\/figcaption><\/figure>\n\n\n\n
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Chim\u2191Pom\uff0c\u300a\u6b7b\u4ea1\u7684\u6f06\u9ed1\u300b\uff0c2008\u30012016\uff08\u7248\u6743\uff1aChim\u2191Pom\uff1b\u9e23\u8c22\uff1a\u827a\u672f\u5bb6\u548c\u4e1c\u4eacMUJIN\u00adTO Production\uff1b\u6444\u5f71\uff1aKENJI MORITA\uff09\/ Chim\u2191Pom, \u201cBlack Of Death\u201d, 2008, 2016 (\u00a9 Chim\u2191Pom; courtesy of the artist and MUJIN\u00adTO Production, Tokyo; photo by KENJI MORITA)<\/figcaption><\/figure>\n\n\n\n

As art activists, Chim\u2191Pom is responding to the day-to-day collapse of contemporary social conditions, attempting to replace social or non-governmental organizations based on different lines of reasoning. The difference is that they are not quick to abandon art or to try to make it \u201cuseful\u201d. It is just as Simon Critchley writes in The Problem of Hegemony<\/em>, \u201cpolitics begins right here, locally, practically and specifically, around a concrete issue.\u201d Looking at the \u201cspecific actions\u201d of Chim\u2191Pom\u2014using a jet to write the words \u201c\u30d4\u30ab\u30c3\uff08pika\uff09\u201din the Hiroshima sky, symbolizing the explosion of atomic bombs; or adding an image of  nuclear power-plant debris to the bottom-right corner of \u201cMyth of Tomorrow\u201d, a large-scale mural by Taro Okamoto located in Shibuya Station; or using VR equipment to reflect the desires projected by Fukushima\u2019s indigenous people living under low radiation\u2026etc.\u2014these so-called actions should not have to be accomplished by running off to protest at some meeting of the G8; \u201cYou shouldn\u2019t meet your enemy on their ground, but on your own, on the ground that you have made your own. Also, think of the money and time you save on travel!\u201d<\/p>\n\n\n\n

Using \u201cART is in the pARTY\u201d as their \u201cmanifesto\u201d, Chim\u2191Pom enlists live music, performance, and party-themed carnival, as well as the ceremony in which all the exhibited works will be completely destroyed by architecture specialists at the end of the exhibition (the exhibition itself will not actively be taken down\u2014it will also be destroyed by the demolition), to create a new kind of encounter. Carnival gives \u201cthe world turned upside down\u201d a legitimate existence. Although the subversive format of carnival is nothing but an ecstatic experience and does not entail a substantial subversive effect, it is in such a hyper-frenzied state that real subversion emerges\u2014according to Bakhtin\u2019s theory of the Carnivalesque, it provides a real method for realizing collective thought. Subversion is not only a characteristic of the event itself; akin to the process of disintegration, it is a mode of living, a game in parallel to real life. The carnival is a kind of \u201crealized utopia\u201d. The ritualistic aspect of carnival is premised on the separation between the real and the fantastic: whereas real life is serious, the latter provides the tool for sacrilege and play. Entering the latter via the former, one could create on the basis of the real, a new real that is simultaneously indirect, simulated, and open, through the ability to general one\u2019s own symbols and concepts.<\/p>\n\n\n\n

Carnival is a holiday filled with laughter. The main visual impact of Chim\u2191Pom\u2019s poster \u201cSo see you again tomorrow, too\u201d is a muddy smile. It is as though when one feels the exhilaration of synesthesia and experiences the process of being resurrected from death, a charming smile flowers from the birth of a new world, whether it is heartfelt or bitter. Explaining the duality of laughter in carnivals, Bakhtin says, \u201ccarnivalistic laughter likewise is directed toward something higher\u2014towards a shift of authorities and truths, a shift of world orders. Laughter embraces both poles of language, it deals with the very process of change, with crisis itself. Combined in the act of carnival laughter are death and rebirth, negation (a smirk) and affirmation (rejoicing laughter). This is a profoundly universal laughter, a laughter that contains a whole outlook on the world. Such is the specific quality of ambivalent carnival laughter.\u201d<\/p>\n\n\n\n

When the exhibition is completely destroyed, Chim\u2191Pom will collect the fragmented pieces of artworks that will have shared the same fate as the buildings and reconstruct them. From the neon letters taken from the to-be-demolished PARCO department store, we will keep the letters \u201cC\u201d and \u201cP\u201d that represent Chim\u2191Pom. Chim\u2191Pom will present an exhibition comprised of these fragments in GARTER art space as a follow-up to \u201cSo see you again tomorrow, too?\u201d The phrase \u201cSo see you again tomorrow, too?\u201d is taken from the closing line of television host Kazuyoshi Morita\u2019s variety show \u201cIt\u2019s OK to Laugh!\u201d, a long-running show that lasted 32 years. In the production of the final episode, even though it was clear that there would be no more chances to \u201csee you again\u201d, Morita still ended with \u201cSo see you again tomorrow, too?\u201d As \u201cthe end\u201d will surely come, Chim\u2191Pom asks the audience of \u201ctomorrow\u201d for the scrap and rebuild of the future.<\/p>\n\n\n\n

\"Chim\u2191Pom\uff0c\u300a\u4eba\u4eec\u9020\u4e86\u4e00\u5ea7\u57ce\u300b\uff08\u5de6\uff09\u3001\u300a\u4e94\u73af\u300b\uff08\u4e2d\uff09\u548c\u300a\u90fd\u5e02\u6096\u8bba\u300b\uff08\u5730\u677f\u88c5\u7f6e\uff09\uff0c2016\uff08\u7248\u6743\uff1aChim\u2191Pom\uff1b\u9e23\u8c22\uff1a\u827a\u672f\u5bb6\u548c\u4e1c\u4eacMUJIN\u00adTO<\/a>
Chim\u2191Pom\uff0c\u300a\u4eba\u4eec\u9020\u4e86\u4e00\u5ea7\u57ce\u300b\uff08\u5de6\uff09\u3001\u300a\u4e94\u73af\u300b\uff08\u4e2d\uff09\u548c\u300a\u90fd\u5e02\u6096\u8bba\u300b\uff08\u5730\u677f\u88c5\u7f6e\uff09\uff0c2016\uff08\u7248\u6743\uff1aChim\u2191Pom\uff1b\u9e23\u8c22\uff1a\u827a\u672f\u5bb6\u548c\u4e1c\u4eacMUJIN\u00adTO Production\uff09\/ Chim\u2191Pom, \u201cThe People Make the City\u201d (left), \u201cFive Rings\u201d (center), and \u201cDowntown Paradox\u201d (floor installation), 2016 (\u00a9 Chim\u2191Pom; courtesy of the artist and MUJIN\u00adTO Production, Tokyo)<\/figcaption><\/figure>\n\n\n\n
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Chim\u2191Pom\uff0c\u300a\u7ed8\u5236\u672a\u6765\u300b\uff0c2016 \uff08\u7248\u6743\uff1aChim\u2191Pom\uff1b\u9e23\u8c22\uff1a\u827a\u672f\u5bb6\u548c\u4e1c\u4eacMUJIN\u00adTO Production\uff1b\u6444\u5f71\uff1aKENJI MORITA\uff09\/ Chim\u2191Pom, \u201cDrawing Mirai\u201d, 2016 (\u00a9 Chim\u2191Pom; courtesy of the artist and MUJIN\u00adTO Production, Tokyo; photo by KENJI MORITA)<\/figcaption><\/figure>\n\n\n\n
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Chim\u2191Pom\u7684\u6210\u5458\u5728\u5f00\u5e55\u6d3e\u5bf9\u4e0a\u795d\u9152\uff08\u6444\u5f71\uff1aYUKI MAEDA\uff09 \/ Chim\u2191Pom members make a toast at the opening party (photo by YUKI MAEDA)<\/figcaption><\/figure>\n\n\n\n
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\u805a\u96c6\u5728\u5b9e\u9a8c\u5267\u56e2Akumanoshirushi\u7684\u4eba\u7fa4\uff08\u6444\u5f71\uff1aYUKI MAEDA\uff09 \/ Crowd gathering around experimental theater group Akumanoshirushi (photo by YUKI MAEDA)<\/figcaption><\/figure>\n\n\n\n
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[1] \u201c\u5728\u827a\u672f\u7684\u4e0a\u7a7a\u70b8\u4e00\u4e0b\u201c\uff0c\u300a\u77e5\u65e5\u00b7\u73b0\u4ee3\u9713\u8679\u827a\u672f\u529b\u300b\uff0c\u603b35\u671f\uff0c2016.6<\/p>\n","protected":false},"excerpt":{"rendered":"

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