1.18 AXIS*Invites:理想主义浪漫艺术家Cecilia 全新实验戏剧“Sexilia”主题混合现场表演成都站

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AXIS*Invites:

Grooming Label (Yves Tumor) & Halcyon Veil (Rabit) 旗下

CECILIA实验戏剧'SEXILIA'主题 liveCECILIA

Time:2019.1.18

LINE UP:

Cecilia

Bl1nk

Huizit

福利

本场活动所有购票支持的朋友可得AXIS 舞池特调一杯

票价Ticket:

早鸟Earlybird:30RMB(限量15张)

预售Presale: 60 RMB

现场Door: 80 RMB

学生票:凭大学生证享现场票半价

场地Venue:

AXIS

理想主义浪漫艺术家Cecilia​

全新实验戏剧“Sexilia”主题混合现场表演成都站



CECILIA是多栖艺术家MélissaGagne的分离性变体之一,其实践范围涵盖音乐,视觉,装置,表演与戏剧。她最近在Halcyon Veil创始人Rabit的最新专辑《 Les Fleurs du Mal》中合作创作了两首歌曲。之前她已经在Babi Audi这个DJ /制作人代号下发布了令人垂涎的电子发行包括《 Club Dead LTD》和《 Mommy Dust》以及在DIS Magazine上发布融合视觉概念的混音 《6 Page Letter 》。Gagne还是混合舞台作品的创造者,特别是在Mutek音乐节上的《Nailed High》和 《Sochi Snow》(Sight & Sound)。”Adoration“是她迄今为止最精致,最特别的努力成果。

《Adoration 》

完全由CECILIA撰写,创作和制作的《Adoration 》是一场清澈的梦境,沉浸在一种深沉的个人内在状态中。专辑的10首实验曲目在荒凉的音景中穿梭,空旷而又充满情感。在这种幻觉,迷失和浪漫主义的混合中,“崇拜者被剥夺了崇拜的东西。这张专辑就是答案,一种无法实现崇拜的病态。” CECILIA解释道。“我们大多数人都受到束缚,只能痛苦地,有条件地,理性而务实地爱。我们怎么可能去再次崇拜?” 她问道。

CECILIA运用合成器,吉他和节拍器即兴演奏的精简片段,原始诗词和电影样本的多语种发声,创造了一种触觉声与亲密私语的提炼语言。专辑令人回味的质感充满了毁灭性的克制和特殊性 - 柔和的弹拨弦,蹒跚的节拍,金属的颤音,颤抖的号角线,警笛声在对话中环绕。 这些集合了专辑主题的实质。一直以来,贯穿于Adoration的都是女性的声音。我们听到艺术家,她的朋友茉莉·皮萨皮亚(Jasmine Pisapia),作家和社会学家Grisélidis Réal,女演员珍妮·莫罗(Jeanne Moreau)的喘气,哀怨,诅咒被用法语,英语和意大利语表达出来:一种属于CECILIA的怪诞行为。

“您处于精神病院,监护声音从四面八方传到耳边。专辑是与自己内心进行的内部对话,也是与最恶意的对话者之间进行的对话。 真实,美丽与悲剧被悄悄传唤到了魔鬼的耳朵中。”在个人动荡期间,“Adoration”在蒙特利尔,多伦多和纽约之间温育了一年半,最后在皇后区一个有门的房间里聚在一起。在布莱顿海滩的露台上以及阳光普照的屋顶上,上面散布着奥德丽·洛德(Audre Lorde),海伦·希克斯(HélèneCixous)和皮埃尔·保罗·帕索里尼(Pier Paolo Pasolini)的书页。


在去年被Rabit邀请参与到其Les Fleurs Du Mal专辑中并为Yves Tumor的Grooming厂牌发行EP之后,这张梦幻般的前卫流行音乐和电子音乐变体的首张专辑“Adoration”,恰当地介绍了定居巴黎的蒙特利尔艺术家 Mélissa Gagné aka CECILIA。令人难以忘怀的迷人歌声,缠绵的英语,法语和意大利语人声,如果您喜欢Yves Tumor,FéliciaAtkinson,Rabit,Teresa Winter,Portishead,Leila等,则不容错过。”
CECILIA - "HOUSE OF FLESH"



低音与打击乐器被合成器和吉他即兴演奏的阴影所笼罩,但一个始终如一的元素就是女性声音。有时候,她们显得格格不入,格格不入,而对于其他人却是陌生的,平淡的,声音的存在是专辑静静吸收气氛中不可或缺的部分,即使听者无法理解其直接含义,他们也通过抽象的推断和模糊性暗示了更多可能性。"

在她早期为Yves Tumor的Grooming 厂牌发行的 Charity Whore EP,以及之前担任DJ /制片人Babi Audi和她的混合舞台作品之后,Cecilia将所有这些内容结合在一起,呈现了一个虚幻而又杰出的作品,以引起听众的共鸣。来自无数背景和学科理论。毫无疑问,这是2018年最具吸引力,令人着迷的LP之一。

Mélissa Gagné 在电子邮件中写道:“我拍摄是为了看清我的样子,并录制下来我自己聆听的声音。” 她的第一张全长专辑以Cecilia的名字刚刚Halcyon Veil发行。厂牌将其描述为“沉浸在深厚个人内在状态中的清晰梦境”,这张专辑由合成器,吉他和荒凉的打击器乐等零散元素组成,以及源自原始诗歌和电影样本的多语种嗓音。

这张专辑名为《崇拜》,延续了去年在Yves Tumor厂牌下发布的视觉EP “ Charity Whore”,并摆脱了这位那不勒斯多栖艺术家之前在代号Babi Audi下的作品,其中包括自我发行的 Mommy Dust,通过Hoss Records发行的Club Dead LTD。以及在DIS Magazine发布的视觉概念混音 6 Page Letter。除Cecilia外,这张专辑还包括Gagné 的朋友茉莉·皮萨皮亚(Jasmine Pisapia)以及诗人,维权人士和性工作者格里塞利迪斯·雷阿尔(GrisélidisRéal)的特殊贡献。

视频似乎在Gagné的许多作品中都起着重要作用,包括她的音乐-尽管她的实践还涉及装置,表演和戏剧。她解释说:“图像有一种类似像声音景象所产生的幻觉同样的作用。” “我相信他们都有自己独立的存在,他们只是在彼此之间徘徊了片刻。”然而,Gagné断言音乐是第一位的。她在魁北克东南部的乡村长大,自九岁起就自学弹吉他,并且喜欢唱歌。“我对某些空间的混响特性着迷,也非常注重言语的言语表达。”

**您如何形容Babi Audi和Cecilia的性格?
Mélissa Gagné:我想说Babi Audi是个狂妄的少女。一个善于欺骗的,轻浮的性情中人。她屈从于自己的唯物主义倾向:偷窃,撒谎,热爱垃圾和八卦。Cecilia则认为自己是圣母,想舔这个世界的伤口。她认为自己应该因为感受着无尽他人的痛苦而获得诺贝尔奖。她耐心而又缓慢,可以消失在飞行模式下并且沉默多年。她沉思并投降。她本来是完美的神秘主义者。她想知道如何传达她那过时的绝对感。

**声音和视频在您的工作中如何相互关联?
MG:从某种意义上说,它们之间的联系是因为它们的共同意图是更仔细,更仔细地观察和聆听。通过审美冲动提高我的敏锐度。和拍摄一样,我在拍摄过程中也感到非常高兴。从某种意义上说,我拍电影就是为了看待自己的样子,并把它们录制下来聆听自己的声音。我有兴趣观察甚至质疑过程中揭示的主观内涵。通常,视听组合背后的思考过程不是理性的而是直观的。就是说,将来我想用更假定的电影方式和叙事方式创作电影作品。

**您是否主要被某些形式,媒介或学科所吸引?
MG:我认为声音和音乐永远是我的头等大事,而且似乎总是回到中心。小时候,我喜欢唱歌。我也迷上了钢琴,但我没有钢琴。我在一个孤立的,不稳定的环境中成长,如果我与同龄人聊天,现在对我来说似乎已经过时了。我九岁左右就开始自学吉他。我的姐姐带了一把便宜的电吉他到了家里,当时她正在和一个可爱的金属男孩约会。我很快了解到所有悬挂在旁边的Metallica和Slayer乐谱,专注于原始的独奏,沉迷于挑剔的专业人士。此后不久,我开始创作歌曲并为它们唱诗。我也在乡村合唱团唱歌;葬礼是我的最爱–田园诗试图用元素类比抓住死亡,赞美自然和生命周期,在强烈的香气中戏剧性地表演。严肃而又尘土飞扬的圣经表演,但我认为这些大型表演的仪式性与礼节性始终困扰着我。对我来说,创作和准备现场表演涉及诗歌和戏剧写作。音乐可能处于核心地位,但是却被其他形式超越和授粉。但是,是的,音乐/声音无疑是对我影响最大的形式,因此我不得不练习。声音具有这种独特的物理特性,可让你从字面上触摸人。人们可以在薰衣草的芬芳或者酸冷的环境中温和又或严厉地沐浴着它们。它具有直接而高效的潜力。

**有哪些艺术家影响了你的音乐呢?
MG:我不愿透露姓名。谁知道真正影响我的是什么?我不能说我听或爱过的音乐是否一定影响了我。Portishead,Brigitte Fontaine,Ghédalia Tazartès和Burial无疑是我成年早期的灵感。但是我经常认为,其他类型的听觉体验给我留下了深刻的印象,在无意识的水平上提供了构图姿态,塑造了我在选择中认可的某些审美模式。我认为我反复受到“偏执狂听力”反复发作的影响,这是我小时候经历的幻觉:我周围的每一个噪音和声音都会突然被沉重的情绪重压 — 一种威胁性的陌生感,就好像那些无生命体征的物体之间戏剧性和充满恶意的对话突然被我听到一样。我试图摆脱它(就像有时您试图从噩梦中醒来),通过与这些声音竞争,试图用我自己的声音或者电视,收音机或自来水的声音来覆盖它们。

**作为Cecilia所发布的作品,声音(尤其是女性的声音)似乎也融入到了您的音乐中。声音对您的意义是什么?
MG:我认为我对这个问题没有原始答案,可能会重复数百万在我之前所说的话。我们生来就是尖叫。我们的呼吸与声带从那一刻就捆绑在一起,使我们能够表达自己的身体需求,然后表达更复杂的情感和理性需求和欲望。我们认为这是理所当然的,它是一种令人震惊的复杂又高效的设备。我倾向于将其与音乐中的简约感一起使用,就像一份珍贵的礼物。我以关怀和谨慎的态度慢慢朝着它前进。我也不知道为什么。

**【崇拜】这张专辑背后的驱动思想是什么?
MG:源于对精致与亲密感的特殊渴望,我试图与专辑封面交流。一种关系尝试。我想与听众分享在现实生活中似乎很难与人分享的内容。我喜欢音乐作为邀请他人分享情感和色情情报的信函。我渴望真诚的亲密接触,并且正在邀请人们进行一场亲密无间的内在对话。
我想到的是奥德丽·洛德(Audre Lorde)对“色情的使用:色情作为力量”中“色情”概念的理解。我不一定要指色情的性方面。
通过这个过程,我也开始对我如何忠于生产环境的贫困有所了解。骷髅,无声的站在半地下室里裸露的歌声。在制作专辑的过程中,去年夏天的某个地方,我还记得写过一些关于我觉得这张专辑是如何被荒凉的房子打扰的,里面充满了室外元素-雨水,草,冰雹,风和穿过裂缝透进来的阳光。
在过去的两年中,我可能经历过某种入侵的想法,即在艰难的工作环境和不稳定的生活环境中,时间的入侵和空间的入侵。这个项目是由需要关闭一扇门,保持关门,保持沉默,检查自己并尝试倾听来驱动的。您只能进入,一个脱掉鞋子然后接受窃窃私语的规则。这还涉及到探访伤口并吐出一些毒液。我之所以选择“崇拜”作为专辑标题,是因为我非常喜欢这个词,只是它的外观和发音,以及其含糊不清的含义都吸引人。简单的崇拜可能是纯粹的和无辜的,但从来都不是简单的,它也可能是狂热的,破坏性的和盲目的的,被病态的权力内部化系统所疏远。*

CECILIA is the dissociative metamorphosis of multidisciplinary artist Mélissa Gagné, whose practice spans music, video, installation, performance and theatre. She recently collaborated on two songs on Les Fleurs du Mal, the latest album from Halcyon Veil founder Rabit. Her musical output under previous DJ/producer alias Babi Audi includes harrowing electronic releases Club Dead LTD (Hoss Records, 2015) and Mommy Dust (self-released, 2015) as well as the visual concept mix 6 Page Letter (DIS magazine, 2016). Gagné is also the creator of hybrid stage works, notably Nailed High (Mutek, 2017) and Sochi Snow (Sight & Sound, 2015). Adoration is her most refined, delicately crafted effort to date.
Entirely written, composed and produced by CECILIA, Adoration is a lucid-dream immersion into a state of deep, personal interiority. The album’s 10 experimental tracks move through a desolate soundscape, hollowed out yet humid with emotion. Here, in this phantasmagoria, loss and romanticism commingle, “The adorer has been stripped of what was there to adore. The album is the consequence, the symptom of an adoration made impossible” CECILIA explains. “Most of us are miserably constraint to love conditionally, rationally and pragmatically. How could we possibly adore again?” she asks.
Wielding bare-essence fragments of synth, guitar and beat improvisations, polyglot vocalizations from original poems and film samples, CECILIA creates a distilled language of tactile sound and intimate utterance. The album’s evocative textures are arranged with devastating restraint and specificity- muted plucked strings, hobbled beats, a metallic trill, a wobbly horn line, sirens wailing in dialogue; some gather the substance of leitmotif. And all the while, threading through Adoration is the female voice. Breathless, plaintive, incantatory, in French, English and Italian we hear from the artist, her friend Jasmine Pisapia, the writer and activist Grisélidis Réal, the actress Jeanne Moreau : a ventriloquy act by CECILIA.
“You are in a psychic chamber and premonitory voices reach you from all sides. The album is an inner dialogue one must have with oneself but also a conversation one must have with the most malicious interlocutor. One is summoned to whisper truth, beauty, tragedy to demon ears.” Adoration incubated for a year and a half in between Montreal, Toronto and New York, during a time of personal tumult, and finally came together in a room with a door of Queens, on a beach terrace of Brighton Beach, and on a sun-exposed roof strewn with pages by Audre Lorde, Hélène Cixous and Pier Paolo Pasolini.
CECILIA鼓励内省,幻觉式的聆听体验。 这位本名MélissaGagné的多栖艺术家的音乐擅长将前卫电影,惊悚的电子模块与人声朗诵的片段进行拼贴。“Adoration ”提供了一种内省和迷惑的聆听方式,会让您感到仿佛不小心走进了鬼屋。“ Descente Ferme”中弹拨的弦乐很容易让人联想到的低成本恐怖片。然而,这些声音却被舒适地摆在专辑的偏执狂电子模块中。随着时间的流逝,逐渐形成一种令人不安的氛围,这种效果模仿了步履蹒跚但非常人性化的注意力模式:警惕情绪的激荡,接着又是漠不关心的意识。这不是一张容易听懂的专辑,但是花时间聆听“Adoration”会让你从中受益匪浅,最好是独自一人在黑暗的房间里。
Electronic bass and percussion are shadowed with traces of synth and guitar improvisations, but the one consistent element is the female voice. Sometime detached, glossolalic, and at others uncannily familiar, plaintive, the voice’s presence is integral to the album's quietly absorbing atmosphere, and even if the listener can’t understand their direct meaning, they connote so much more through abstracted inference and ambiguity.
Following her early forays made with the Charity Whore EP for Yves Tumor’s Grooming label, and previous work as DJ/producer Babi Audi, along with her hybrid stage works, Cecilia ties all those strands into an illusive yet highly distinguished work set to resonate with listeners from myriad backgrounds and disciplines. It's no doubt one of 2018’s most haunting, beguiling LPs.
Standout début album of dream-like, avant garde pop and electronic variants that properly introduces Napoli-based Montreal artist Mélissa Gagné aka CECILIA after guesting on Rabit’s Les Fleurs Du Mal album last year and releasing an EP for Yves Tumor's Grooming label. Devastatingly restrained yet ravishing songs with haunting English, French and Italian vocals, huge recommendation if you're into Yves Tumor, Félicia Atkinson, Rabit, Teresa Winter, Portishead, Leila...
Cecilia wrote and produced Adoration, with accompaniment by mutual spirits such as her friend Jasmine Pisapia and the poet activist Griséldis Réal, who help to render a stark yet subtly gilded cross-section of her psyche, which places the listener as dark interpreter to a series of tumultuous inner dialogues - “One is summoned to whisper truth, beauty, tragedy to demon ears.”
Incubated for one and half years between Montreal, Toronto and New York, Adoration reads like intimately diaristic pages recalling an amorphous lucid dream. In that phantasmagoric headspace she meditates on loss and romanticism, using a shifting backdrop of highly visual stimuli to frame her thoughts and bring them to life with an uncannily immersive effect perhaps not felt so strongly since Félicia Atkinson’s Hand In Hand LP.
“I film to look at how I see and record to listen to how I hear,” writes Mélissa Gagné over email, whose first full-length album under the alias Cecilia has just been released by way of Halcyon Veil. Described by the label as “a lucid-dream immersion into a state of deep, personal interiority,” the album is composed of desolate and fragmented elements of synthesiser, guitar and percussion, alongside polyglot vocalisations derived from original poems and movie samples.
Entitled Adoration, the album follows last year’s visual EP Charity Whore, released on Yves Tumor’s Grooming label, and moves away from Naples-based multidisciplinary artist’s previous work under the moniker Babi Audi, which included Club Dead LTD on Hoss Records, the self-released Mommy Dust, and the visual concept mix 6 Page Letter via DIS magazine. Alongside Cecilia, it also features additional contributions from Gagné’s friend Jasmine Pisapia, and writing taken posthumously from the work of poet, activist and sex worker Grisélidis Réal.
Video appears to play an important part in much of Gagné’s work, including her music – albeit her practice also spans installation, performance and theatre. “The imagery seems to function like hallucinatory impressions of the soundscape,” she explains. “I believe they have their own independent existence, they are simply haunting each other for a moment.” Gagné asserts, however, that music came first. Growing up in the rural southeast of Quebec, she taught herself to play guitar from the age of nine and loved to sing. “I was fascinated by the reverberation proprieties of certain spaces and also very attentive to the elocution of words.”
**How would you describe the personalities of Babi Audi and Cecilia?
Mélissa Gagné: I would say Babi Audi is an arrogant adolescent. She is fraudulent, flirtatious and temperamental. She succumbs to her materialistic tendencies: steals, lies, loves trash and gossip. Cecilia thinks she is a saint, wants to lick the world’s wounds. She believes she deserves a Nobel Prize for feeling other people’s pain so much. Patient and slow, she can disappear into airplane mode and be silent for years. She contemplates and surrenders. She could have been the perfect mystic. She wonders how to channel her anachronic sense of the absolute.
**How do sound and video relate to one another in your work?
MG: They relate in the sense that they emerge from a common intention of seeing and listening more closely, carefully; to sharpen my acuity through aesthetic impulses. I take a lot of pleasure in the act of filming, as I do in the act of recording. In a way, I film to look at how I see and record to listen to how I hear. I am interested in observing and maybe questioning the subjective connotations revealed in the process. Usually, the thought process behind the audiovisual assemblage is not a rational but an intuitive one. That said, in the future I want to create film pieces with a more assumed cinematic approach and developed narrative.
**Are you drawn primarily to certain forms, mediums or disciplines over others?
MG: I think sound and music always came first for me and seem to always come back to the centre. As a child, I loved to sing. I was also obsessed with piano, which I did not have access to. I grew up in quite an isolated and precarious environment, which now appears to me as anachronic if I talk with people my age. I started to teach myself guitar around the age of nine. A cheap electric guitar had entered the household through my older sister, who was dating a cute metal boy. I quickly learned all the Metallica and Slayer tabs that were hanging around, focusing on the plaintive solos, indulging in picking prowesses. Soon after that I started to compose songs and sing my poems over them. I was also singing in my village choir; funeral liturgies were my favorite – bucolic lyrics trying to seize death with elemental analogies, in praise of nature and life cycles, dramatically performed in very strong incense. An austere and dusty biblical show, but I think that the ceremonial and ritualistic qualities of these mass performances stuck with me. For me, composing and preparing live performances involves poetic and theatrical writing. Music can be at the core, but is crossed and pollinated by these other forms. But, yeah, music/sound is without doubt the form that affects me the most, and for that reason I am compelled to practice. Sound has this unique physicality that allows you to literally touch people. You can gently or harshly bathe them, in lavender or cold acid. It has this direct and efficient potential.
**Who or what are your main musical influences?
MG: I feel reticent to drop names. Who knows what really influenced me? I cannot say if the music I listened to or loved has necessarily influenced me. Portishead, Brigitte Fontaine, Ghédalia Tazartès and Burial have, without doubt, been inspirations in my early adult life. But I often think that other kinds of auditory experiences had a greater impression on me, feeding the compositional gesture at an unconscious level, shaping certain aesthetic patterns I recognize in my choices. I think that I have been significantly ‘influenced’ by repetitive episodes of ‘paranoiac hearing,’ sonic hallucinations I had through my childhood: every noise and sound around me would suddenly be charged with heavy emotional weight – a threatening strangeness, as if there was a dramatic and malicious conversation between inanimate objects made accessible for me to listen. I was trying to get out of it (like sometimes you are trying to wake yourself up from a nightmare), by competing with these sounds, trying to cover them with my voice, TV, radio or running water.
**The voice – particularly the female voice – also appears to be integral in your music as Cecilia. What’s the significance of the voice to you?
MG: I don’t think I have an original answer to this question and will probably repeat what millions have said before me. We were born screaming. Immediately our breath tied together with our vocal chords allowing us to express our physical needs, then later more complex emotional and rational needs and desires. We take it for granted, it’s a shockingly sophisticated and efficient device. I tend to use it with parsimony in my music, like a precious gift. I move slowly towards it, with prudence and care. I don’t know exactly why.
**What were the driving ideas behind Adoration?
MG: There was a certain desire for delicateness and intimacy, which I tried to communicate with the album cover. A relational attempt. I think I want to share with the listener what seems to be so hard to share with people in real life. I approach music like an invitation to share emotional and erotic intelligence. Longing for a sincere closeness I am inviting to an intimate dialogue.
I am thinking of Audre Lorde’s understanding of the notion of ‘erotic’ in ‘The Uses of Erotic: Erotic as Power.’ I am not necessarily referring to the sexual aspect of eroticism.
Through the process I also started to understand something about how I was being faithful to the poverty of the context of production. Skeletal, the songs standing there alone naked in an unfurnished semi-basement. During the making, somewhere last summer, I also remember writing about how I felt this album was a vacillating deserted house infiltrated by outdoor elements — ponds of rain waters, grass, hail, wind and sunlight entering through the cracks.
There is maybe a certain idea of invasion, which I experienced in the last two years, invasion of time and invasion of space through difficult working situations and precarious living situations. The project was driven by a need to shut a door and keep it closed, stay in silence, check on myself and try to listen. You can only enter, one who takes his or her shoes off and accepts the rule of whispering. It is also about visiting the wounds and spitting out some venom. I chose ‘adoration’ because I like this word a lot, simply how it looks and sounds, and also its ambivalent meaning is appealing. It could be pure and innocent to simply adore but it is never simple, it could also be fanatic, destructive and blind, alienated by the sick power internalization.**

 

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