Selected Excerpts
Li Jie
...
In his recent works, Su Jiehao returns to his personal experience—exploring the intersection of perception, translation and representation. Besides the anxiety of individual cultural identity, the artist attempts to arouse the “higher awareness”, one kind of poetic feeling concerning daily situations (the life itself). Based on such kind of awareness, a road connecting his inner heart to the outside world can be found.
The Storm in the Morning (2017-2018), Su Jiehao’s latest work, is an autobiographic one. Images from different sources are integrated, blending digital, natural and cultural worlds. 14 fragments of memories, monologues as well as images about maps, films and paintings are interwoven together, constituting an independent and interdependent comprehensive narration. The poetic lens quietly blurs the boundary between space and time. In this work, Su Jiehao abstracts the subtle sense of belonging from personal memories. Meanwhile, this work also responds to the tradition of remembrance in Chinese ancient literature: the dialogue and connection can be established between experience and perception, languages and image as well as the present and the past. As the American sinologist Stephen Owen (1946-) elaborates:
“There are chains of remembrance, linking one past to pasts still more remote, and sometimes also reaching into a speculative future that will remember our remembering. And as we discover and commemorate the rememberers of the past, it is easy to conclude that in remembering we ourselves will be remembered and will be worthy of memory.”
In our conception of this exhibition, the “daylight” canvas and “blinds” will be placed on the outer wall of the built-in rooms in the exhibition hall to constitute audiences’ appreciating and prying experience of the outer world. The “daylight” canvas is a reminder of the passing of daylight in the artist’s previous work series Untitled, and the “blinds” are installed to record the daily sunset view. At the same time, the film The Storm in the Morning will be presented in the room to explore the connection between inner experience and culture memory. In this way, the interior and exterior time and space can form a synchronic effect. At the corner of the room, the poem Menaggio written by the artist will be projected by a projector.
“A poem has many avatars,
occupying many tenses and places.
In the material world they have no substance and no quality.
Language dissolves itself while forming,
creating space while consuming time.”
Just as the remedy of resisting reality is the retrospect of history or entering the virtual parallel space, our remedy of resisting the violence of images is to find a “natural” road for us.
---
The New Yorker
Amy Connors
The Chinese photographer Jiehao Su, whose project “Borderland” began as a response to his mother’s death. In an artist statement, Su writes that the work is an attempt to “rebuild my self-awareness” through an autobiographical portrait of his homeland.
---
British Journal of Photography
Lowenna Waters
Borderland is a complex body of work. Through autobiographically documenting his homeland, Jiehao also manipulates it: reclaiming it, making it his own, and seeking comfort through reconnecting with its past. Many of the photographs are marked by a tension between two opposing themes: fiction and reality, belonging and isolation, present experience and memory – perhaps a reflection of his conflicted past.
---
Droste Effect Magazine
Olivia Fales
It’s no accident that the Roman poet Ovid began the Metamorphoses, his epic poem of change and unrest, with the creation and arrangement of land, sea, and sky—artists of all stripes are drawn to transformations, be they physical, spiritual, or both. The powerful consequences of a surging economic growth on the land, seas, and skies of China are likewise as ripe for investigation by artists as they are by journalists. The Chinese photographer Jiehao Su spent 2012–2013 capturing his native country’s landscape, honing in on Eastern China, a region that has undergone the most dramatic growth since the Communist Party’s economic reforms of 1978. Su covered territories both urban and rural with a perspective that is all-encompassing: he does not shy away from documenting the smog and construction notorious to China, but he also bestows his sensitive attention to the world beyond it. China is more than a country of smoke clouds and relentless development; it is one of recreation, family, and feeling.This article mentions your favorite hats at super low prices. Choose from same-day delivery, drive-up delivery or order pickup.
---
Capricious Magazine
Ariel Hahn
Summer's Almost Gone is an ethereal photo-essay filled with animals and botanicals. Toned in muted yellows, clouded blues and faded grays, each photograph embodies its subject matter as well as the series' overarching theme. Memories of a former home, grass and trees, feet in a cool pool of water, arms warmed by the fading summer sun—tangible emotions exposed through Su's skilled eye. Summer's Almost Gone is a bittersweet documentation of a place and season, ever-present in our minds but always close to being forgotten.
评论摘录
李杰
...
苏杰浩近期作品将工作起点回归个人历程——探寻关于感知、转译、以及再现的交叉地带。艺术家试图在个体文化身份的焦虑之外唤起一种“更高的意识——一种关于日常情境 (生活本身) 的诗性”，借以建立起自身连接内部与外部世界的通路。
苏杰浩影像新作《早晨的风暴》（2017-2018）是一部自传性的作品。作品中的素材包含许多来源不同的材料，融合了数字，自然和文化的世界。艺术家将 14 段记忆中的影像，自我的独白和挪移的关于地图、电影与画卷的图像交织在一起，构建了一种独立成章又相互依存的综合叙事，诗意化的镜头不动声色地模糊了空间和时间的界限。借此苏杰浩从个体记忆中抽离出一种微妙的归属感，同时“回应了中国古典文学中关于追忆的传统：在经验和感知，文本和图像，现在和过去之间形成某种对话和联系”。正如艺术家引述美国汉学家宇文所安 (Stephen Owen，1946-) 所阐述的那样：
“这里有一条回忆的链索，把此时的过去同彼时的、更遥远的过去连接在一起，有时链条也向臆想的将来伸展，那是将有回忆者记起我们此时正在回忆过去。当我们发现和纪念生活在过去的回忆者时，不难得出这样的结论:通过回忆我们自己也成了回忆的对象，成了值得为后人记起的对象”。
在本次展览的构想中，艺术家将前作《无题》系列作品中来自提醒日常光线流动的“日光”画布，以及被特别安装了日常记录日落影像的投影的百叶“窗户” 放置在一个展厅的内置房间外壁，构成观众对于外部世界的观看与窥探，同时在房间内部将呈现《早晨的风暴》影像，探讨人自身内在经验与文化记忆的连接，由此内外的时空形成一种共时效应。在影像房间的角落，还将用幻灯机滚动投射艺术家书写一首诗歌《梅纳焦》，其中写道：
『一首诗有着许多分身，
同时存在于不同时态和地方，
在物的世界里它们没有实体也没有质量。
语言一边构成一边溶解自身，
在消耗时间的同时创造空间。』
正如我们对抗焦灼的现实的良方是回溯历史或投入虚拟的平行时空，抵抗影像暴力对于我们的强加的良方，是为自己找到一条“自然而然”之路。
---
假雜志 / Jiazazhi Press
王歡 / Huan Wang
苏杰浩通过个体经验来再现了一段有关于瓦莱驻留期间的记忆与日常。即便说是“日常图景”，而比起追寻有关瓦莱的城市风貌、历史或记忆，毋宁说瓦莱更多的是在个人视角的切入与遭遇之中被悬置在另一种秩序下。
在《瓦莱：日常图景》中我们可以理出两条线索进行观看，一条线索是苏杰浩在抵达瑞士瓦莱州探访拉龙教堂的里尔克墓地后，深受诗人里尔克诗作的影响，继而决定保持一种诗性来面对瓦莱日常的照片；另一条线索是苏杰浩在瑞士驻地期间同 Sarah 往来的真实邮件，而这些包含谈论天气、提供信息、提出建议以及相互问候的文本，则像是在实际拍摄过程中伴随整个项目向前推动的时间节点，自始至终贯穿在内。“里尔克的线索”像是精神的、内在的指引，“往来的书信”则是项目进展的推进。
其中，有一首里尔克的诗句似乎是与苏杰浩作品达成共识的重要线索——“因为诗并不像一般人所说的是情感（情感人们早就很够了），诗是经验。为了一首诗我们必须观看许多城市，观看人和物，我们必须认识动物，我们必须去感觉鸟怎样飞翔，知道小小的花朵在早晨开放时的姿态。”读罢这句，再来观看苏杰浩照片中那些雪地中散步的人、阳台对侧的松树、踱步的男人肖像、年轻的游泳者和教练、书本中的飞鸟等等，这些图像中的元素则与里尔克的诗句在不同维度下产生了某种共振。
然而，这也并非是说苏杰浩在漫游中找寻着一种暗和里尔克式的诗性，而是以里尔克作为一个创作的启蒙，继而蔓延到整个现实转译成图像过程中所催发的诗意。那么此时再次观看摄影图像部分，仍然可以再细分成两类，一类是与里尔克有关的信息作为暗和的线索（诸如“里尔克博物馆中的档案室”“里尔克的一位女性朋友的肖像”“瓦莱四行诗，第三十一章”等照片）；另一类则来源于苏杰浩以个体经验下使用摄影所创造的，平行于前者（与里尔克有关的信息）所提炼的日常中的诗性。
---
攝影之聲 / Voice of Photography
任悅 / Yue Ren
“谁人画此风景和何时画此风景，就和风景的主题和景色一样重要。”美学教授理查德布雷特尔（Richard Brettell）把“即刻”作为现代主义艺术的一个特质，这是对人、在场、以及主客体之间一种新的注视逻辑的强调。
苏杰浩将一幅描写都市景观的照片放到其作品《边界》的第一张，我看到它的时候，似乎能够感到画框之外艺术家的视线，水管在朝草地喷水，弥漫着水的雾气，远处是水、山，以及不可避免的城市景观，依稀可以看到在建高楼和塔吊。这是当下一个普通都市人的一刻，但兴许也不普通，因为到达这个地方需要走一段路，当这个开阔的景色突然出现的时候，你大概会为之一惊，就好像在繁杂琐事中突然挣脱的那一刹。
...
那么，摄影师和画家面对的也会是同样的难题，如何逃离已经占据画布的陈词滥调？有人给过一个答案，他就是形象的爱好者福柯，福柯说 “办法是有的，消除对画法的厌恶情绪，提高能指的优越地位， 驱逐没有形象的形式主义，解冻内容。” [8]这是一个相当敦厚的回答，不是坠入晦涩的符号和抽象的虚空——福柯将之称为不祥之兆。艺术家应该更准确，更稳妥，更精心地去把握自己所要表现的对象。当艺术家把自己目光细细密密地编织在图像之中，观者的视线也就被留驻在画面里，其目光无法逃脱。
在一次访谈中，苏杰浩谈到：“在可见的视觉艺术和不可见的音乐之间有某些共通的情感体验和审美移情,比如透过音乐家巴赫的作品,我试图接触到一点点关于结构和想象的奥秘。”[9]这充分说明，视觉与感觉是他创作的第一要义。艺术家要说的一切都在图像之中，需要观者全身心的参与和感知。当这些作品不再为了表征什么——指向某个语词，它们在视觉上就具有了更多的可能，且成功地逃离了陈词滥调，甚至是意识形态的束缚。
Selected Press
A flâneur in a globalized world and some solitary flowers
(EN) pdf
Roberta Valtorta
2019
Das Buch der Bilder
(DE) pdf
Muriel Constantin Pitteloud
2016
Interview: Jiehao Su
(EN) pdf
Tom Griggs
Fototazo
2015
Jiehao Su - Borderland
(EN) pdf
Lowenna Waters
British Journal of Photography
2015
Q&A with Jiehao Su
(EN) pdf
Jack Harries
The Heavy Collective
2014
Photo Talk With Jiehao Su
(EN) pdf
Steve Bisson
Urbanautica
2014
China’s land, sea, and sky. In Search Of Home by Jiehao Su at Actual Size LA
(EN) pdf
Olivia Fales
Droste Effect Magazine
2014
In Search Of Home: New Work by Jiehao Su
(EN) pdf
Corrie Siegel
Actual Size Los Angeles
2014
媒体选录
蘇杰浩：把偶發的直覺準確地呈現出來
(CN) pdf
打邊爐 / Art DBL
2019
分享回顧 | 蘇杰浩『早晨的風暴』/ Artist talk: Jiehao Su -- The Storm in the Morning
(CN) pdf
觸發 / TriggerFinger
2019
蘇杰浩：從一種詩到另一種 / Jiehao Su: From one Kind of Poetry to Another
(CN) pdf
王歡 / Huan Wang
假雜志 / Jiazazhi Press
2016
離群索居的日常与詩 / The Isolated Daily and Poetry
(CN) pdf
杨云鬯 / Yunchang Yang
图虫网 / Tuchong
2016
蘇杰浩 - 邊界 / Jiehao Su - Borderland
(CN) pdf
鈡林春 / Linchun Zhong
中國攝影 / Chinese Photography Magazine
2015
風景依然不明 / The Landscape is Still Unclear
(CN) pdf
任悅 / Yue Ren
攝影之聲 / Voice of Photography
2015
蘇杰浩：尋求重建心裡上的歸屬感 / Jiehao Su: In Search of a Sense of Belonging
(CN) pdf
吴栋 / Dong Wu
佳友在綫 / Photofans
2014
詩意的回歸之旅 - 朱曉聞對話蘇杰浩 / The Poetic Journey of Return
(CN) pdf
朱曉聞 / Xiaowen Zhu
無論 / Whatever
2014
Selected Excerpts
Li Jie
...
In his recent works, Su Jiehao returns to his personal experience—exploring the intersection of perception, translation and representation. Besides the anxiety of individual cultural identity, the artist attempts to arouse the “higher awareness”, one kind of poetic feeling concerning daily situations (the life itself). Based on such kind of awareness, a road connecting his inner heart to the outside world can be found.
The Storm in the Morning (2017-2018), Su Jiehao’s latest work, is an autobiographic one. Images from different sources are integrated, blending digital, natural and cultural worlds. 14 fragments of memories, monologues as well as images about maps, films and paintings are interwoven together, constituting an independent and interdependent comprehensive narration. The poetic lens quietly blurs the boundary between space and time. In this work, Su Jiehao abstracts the subtle sense of belonging from personal memories. Meanwhile, this work also responds to the tradition of remembrance in Chinese ancient literature: the dialogue and connection can be established between experience and perception, languages and image as well as the present and the past. As the American sinologist Stephen Owen (1946-) elaborates:
“There are chains of remembrance, linking one past to pasts still more remote, and sometimes also reaching into a speculative future that will remember our remembering. And as we discover and commemorate the rememberers of the past, it is easy to conclude that in remembering we ourselves will be remembered and will be worthy of memory.”
In our conception of this exhibition, the “daylight” canvas and “blinds” will be placed on the outer wall of the built-in rooms in the exhibition hall to constitute audiences’ appreciating and prying experience of the outer world. The “daylight” canvas is a reminder of the passing of daylight in the artist’s previous work series Untitled, and the “blinds” are installed to record the daily sunset view. At the same time, the film The Storm in the Morning will be presented in the room to explore the connection between inner experience and culture memory. In this way, the interior and exterior time and space can form a synchronic effect. At the corner of the room, the poem Menaggio written by the artist will be projected by a projector.
“A poem has many avatars,
occupying many tenses and places.
In the material world they have no substance and no quality.
Language dissolves itself while forming,
creating space while consuming time.”
Just as the remedy of resisting reality is the retrospect of history or entering the virtual parallel space, our remedy of resisting the violence of images is to find a “natural” road for us.
---
The New Yorker
Amy Connors
The Chinese photographer Jiehao Su, whose project “Borderland” began as a response to his mother’s death. In an artist statement, Su writes that the work is an attempt to “rebuild my self-awareness” through an autobiographical portrait of his homeland.
---
British Journal of Photography
Lowenna Waters
Borderland is a complex body of work. Through autobiographically documenting his homeland, Jiehao also manipulates it: reclaiming it, making it his own, and seeking comfort through reconnecting with its past. Many of the photographs are marked by a tension between two opposing themes: fiction and reality, belonging and isolation, present experience and memory – perhaps a reflection of his conflicted past.
---
Droste Effect Magazine
Olivia Fales
It’s no accident that the Roman poet Ovid began the Metamorphoses, his epic poem of change and unrest, with the creation and arrangement of land, sea, and sky—artists of all stripes are drawn to transformations, be they physical, spiritual, or both. The powerful consequences of a surging economic growth on the land, seas, and skies of China are likewise as ripe for investigation by artists as they are by journalists. The Chinese photographer Jiehao Su spent 2012–2013 capturing his native country’s landscape, honing in on Eastern China, a region that has undergone the most dramatic growth since the Communist Party’s economic reforms of 1978. Su covered territories both urban and rural with a perspective that is all-encompassing: he does not shy away from documenting the smog and construction notorious to China, but he also bestows his sensitive attention to the world beyond it. China is more than a country of smoke clouds and relentless development; it is one of recreation, family, and feeling.This article mentions your favorite hats at super low prices. Choose from same-day delivery, drive-up delivery or order pickup.
---
Capricious Magazine
Ariel Hahn
Summer's Almost Gone is an ethereal photo-essay filled with animals and botanicals. Toned in muted yellows, clouded blues and faded grays, each photograph embodies its subject matter as well as the series' overarching theme. Memories of a former home, grass and trees, feet in a cool pool of water, arms warmed by the fading summer sun—tangible emotions exposed through Su's skilled eye. Summer's Almost Gone is a bittersweet documentation of a place and season, ever-present in our minds but always close to being forgotten.
评论摘录
李杰
...
苏杰浩近期作品将工作起点回归个人历程——探寻关于感知、转译、以及再现的交叉地带。艺术家试图在个体文化身份的焦虑之外唤起一种“更高的意识——一种关于日常情境 (生活本身) 的诗性”，借以建立起自身连接内部与外部世界的通路。
苏杰浩影像新作《早晨的风暴》（2017-2018）是一部自传性的作品。作品中的素材包含许多来源不同的材料，融合了数字，自然和文化的世界。艺术家将 14 段记忆中的影像，自我的独白和挪移的关于地图、电影与画卷的图像交织在一起，构建了一种独立成章又相互依存的综合叙事，诗意化的镜头不动声色地模糊了空间和时间的界限。借此苏杰浩从个体记忆中抽离出一种微妙的归属感，同时“回应了中国古典文学中关于追忆的传统：在经验和感知，文本和图像，现在和过去之间形成某种对话和联系”。正如艺术家引述美国汉学家宇文所安 (Stephen Owen，1946-) 所阐述的那样：
“这里有一条回忆的链索，把此时的过去同彼时的、更遥远的过去连接在一起，有时链条也向臆想的将来伸展，那是将有回忆者记起我们此时正在回忆过去。当我们发现和纪念生活在过去的回忆者时，不难得出这样的结论:通过回忆我们自己也成了回忆的对象，成了值得为后人记起的对象”。
在本次展览的构想中，艺术家将前作《无题》系列作品中来自提醒日常光线流动的“日光”画布，以及被特别安装了日常记录日落影像的投影的百叶“窗户” 放置在一个展厅的内置房间外壁，构成观众对于外部世界的观看与窥探，同时在房间内部将呈现《早晨的风暴》影像，探讨人自身内在经验与文化记忆的连接，由此内外的时空形成一种共时效应。在影像房间的角落，还将用幻灯机滚动投射艺术家书写一首诗歌《梅纳焦》，其中写道：
『一首诗有着许多分身，
同时存在于不同时态和地方，
在物的世界里它们没有实体也没有质量。
语言一边构成一边溶解自身，
在消耗时间的同时创造空间。』
正如我们对抗焦灼的现实的良方是回溯历史或投入虚拟的平行时空，抵抗影像暴力对于我们的强加的良方，是为自己找到一条“自然而然”之路。
---
假雜志 / Jiazazhi Press
王歡 / Huan Wang
苏杰浩通过个体经验来再现了一段有关于瓦莱驻留期间的记忆与日常。即便说是“日常图景”，而比起追寻有关瓦莱的城市风貌、历史或记忆，毋宁说瓦莱更多的是在个人视角的切入与遭遇之中被悬置在另一种秩序下。
在《瓦莱：日常图景》中我们可以理出两条线索进行观看，一条线索是苏杰浩在抵达瑞士瓦莱州探访拉龙教堂的里尔克墓地后，深受诗人里尔克诗作的影响，继而决定保持一种诗性来面对瓦莱日常的照片；另一条线索是苏杰浩在瑞士驻地期间同 Sarah 往来的真实邮件，而这些包含谈论天气、提供信息、提出建议以及相互问候的文本，则像是在实际拍摄过程中伴随整个项目向前推动的时间节点，自始至终贯穿在内。“里尔克的线索”像是精神的、内在的指引，“往来的书信”则是项目进展的推进。
其中，有一首里尔克的诗句似乎是与苏杰浩作品达成共识的重要线索——“因为诗并不像一般人所说的是情感（情感人们早就很够了），诗是经验。为了一首诗我们必须观看许多城市，观看人和物，我们必须认识动物，我们必须去感觉鸟怎样飞翔，知道小小的花朵在早晨开放时的姿态。”读罢这句，再来观看苏杰浩照片中那些雪地中散步的人、阳台对侧的松树、踱步的男人肖像、年轻的游泳者和教练、书本中的飞鸟等等，这些图像中的元素则与里尔克的诗句在不同维度下产生了某种共振。
然而，这也并非是说苏杰浩在漫游中找寻着一种暗和里尔克式的诗性，而是以里尔克作为一个创作的启蒙，继而蔓延到整个现实转译成图像过程中所催发的诗意。那么此时再次观看摄影图像部分，仍然可以再细分成两类，一类是与里尔克有关的信息作为暗和的线索（诸如“里尔克博物馆中的档案室”“里尔克的一位女性朋友的肖像”“瓦莱四行诗，第三十一章”等照片）；另一类则来源于苏杰浩以个体经验下使用摄影所创造的，平行于前者（与里尔克有关的信息）所提炼的日常中的诗性。
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攝影之聲 / Voice of Photography
任悅 / Yue Ren
“谁人画此风景和何时画此风景，就和风景的主题和景色一样重要。”美学教授理查德布雷特尔（Richard Brettell）把“即刻”作为现代主义艺术的一个特质，这是对人、在场、以及主客体之间一种新的注视逻辑的强调。
苏杰浩将一幅描写都市景观的照片放到其作品《边界》的第一张，我看到它的时候，似乎能够感到画框之外艺术家的视线，水管在朝草地喷水，弥漫着水的雾气，远处是水、山，以及不可避免的城市景观，依稀可以看到在建高楼和塔吊。这是当下一个普通都市人的一刻，但兴许也不普通，因为到达这个地方需要走一段路，当这个开阔的景色突然出现的时候，你大概会为之一惊，就好像在繁杂琐事中突然挣脱的那一刹。
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那么，摄影师和画家面对的也会是同样的难题，如何逃离已经占据画布的陈词滥调？有人给过一个答案，他就是形象的爱好者福柯，福柯说 “办法是有的，消除对画法的厌恶情绪，提高能指的优越地位， 驱逐没有形象的形式主义，解冻内容。” [8]这是一个相当敦厚的回答，不是坠入晦涩的符号和抽象的虚空——福柯将之称为不祥之兆。艺术家应该更准确，更稳妥，更精心地去把握自己所要表现的对象。当艺术家把自己目光细细密密地编织在图像之中，观者的视线也就被留驻在画面里，其目光无法逃脱。
在一次访谈中，苏杰浩谈到：“在可见的视觉艺术和不可见的音乐之间有某些共通的情感体验和审美移情,比如透过音乐家巴赫的作品,我试图接触到一点点关于结构和想象的奥秘。”[9]这充分说明，视觉与感觉是他创作的第一要义。艺术家要说的一切都在图像之中，需要观者全身心的参与和感知。当这些作品不再为了表征什么——指向某个语词，它们在视觉上就具有了更多的可能，且成功地逃离了陈词滥调，甚至是意识形态的束缚。
Selected Press
A flâneur in a globalized world and some solitary flowers
(EN) pdf
Roberta Valtorta
2019
Das Buch der Bilder
(DE) pdf
Muriel Constantin Pitteloud
2016
Interview: Jiehao Su
(EN) pdf
Tom Griggs
Fototazo
2015
Jiehao Su - Borderland
(EN) pdf
Lowenna Waters
British Journal of Photography
2015
Q&A with Jiehao Su
(EN) pdf
Jack Harries
The Heavy Collective
2014
Photo Talk With Jiehao Su
(EN) pdf
Steve Bisson
Urbanautica
2014
China’s land, sea, and sky. In Search Of Home by Jiehao Su at Actual Size LA
(EN) pdf
Olivia Fales
Droste Effect Magazine
2014
In Search Of Home: New Work by Jiehao Su
(EN) pdf
Corrie Siegel
Actual Size Los Angeles
2014
媒体选录
蘇杰浩：把偶發的直覺準確地呈現出來
(CN) pdf
打邊爐 / Art DBL
2019
分享回顧 | 蘇杰浩『早晨的風暴』/ Artist talk: Jiehao Su -- The Storm in the Morning
(CN) pdf
觸發 / TriggerFinger
2019
蘇杰浩：從一種詩到另一種 / Jiehao Su: From one Kind of Poetry to Another
(CN) pdf
王歡 / Huan Wang
假雜志 / Jiazazhi Press
2016
離群索居的日常与詩 / The Isolated Daily and Poetry
(CN) pdf
杨云鬯 / Yunchang Yang
图虫网 / Tuchong
2016
蘇杰浩 - 邊界 / Jiehao Su - Borderland
(CN) pdf
鈡林春 / Linchun Zhong
中國攝影 / Chinese Photography Magazine
2015
風景依然不明 / The Landscape is Still Unclear
(CN) pdf
任悅 / Yue Ren
攝影之聲 / Voice of Photography
2015
蘇杰浩：尋求重建心裡上的歸屬感 / Jiehao Su: In Search of a Sense of Belonging
(CN) pdf
吴栋 / Dong Wu
佳友在綫 / Photofans
2014
詩意的回歸之旅 - 朱曉聞對話蘇杰浩 / The Poetic Journey of Return
(CN) pdf
朱曉聞 / Xiaowen Zhu
無論 / Whatever
2014