突尼斯游牧建筑的创意变奏

远离原定的旅行路线，摄影师

Yoann Cimier

探索到了突尼斯意想不到的一面，看到了突尼斯最卑微却享乐主义、最喜庆却悲伤、最脆弱却富有希望的一面。这是对突尼斯的深入观察，就像凝视天堂而没有任何伪装。

Far from the usual tourist route, the photographer Yoann Cimier explores an unexpected side of Tunisia, looking at the country at its most humble yet hedonistic, most festive yet sad, fragile but full of assurance. This is a deep look at Tunisia, like gazing into paradise without any false pretense.

无论何时访问突尼斯人的海滨，都会被那些临时建筑所吸引。这些建筑物我们姑且叫作“

游牧建筑

”吧。对西米尔来说，这不是一个无意识的现象：每个要素和即兴创作都在揭示当地居民如何与周围环境相处。隐藏在这些稀奇的帐篷和非正式结构中，可以窥见突尼斯社会的动态。

Fascinated by the ephemeral constructions that Tunisians create whenever they visit the seaside, these photographs are a methodical collection in the field of “

Nomadic Architecture

”. For Cimier, this is not an innocuous phenomenon: each element and improvisation is revealing of how the local population takes possession of the environment around them. Hidden in these curious tents and informal structures lies a glimpse into the very dynamics of Tunisian society.

吸引参观者的是

这些构筑物

形式的

多重性

和多样性。一种可塑性和创造性的建造可以把简单的庇护所变成富有娱乐性和表现性。在自然之外，人类的秩序是建立起来的--却以最杂乱无章的方式建立起来。

What engages the viewer in these constructs is their multiplicity and diversity of forms. A plasticity and inventiveness transforms what could be mere simple shelters into recreational and expressive forms. Out of natural space, human order is established—yet in the most seemingly haphazard of ways.

归根结底，这是对突尼斯的诗意想象，

暗示了突尼斯的许多紧张局势，包括建设性和破坏性。

通过冷静的摄影纪实语言，颠覆了我们的期待和传统的表现形式，

我们在面临着一个变化中的国家令人回味和启发性的画面。

Ultimately, this is a poetic vision of Tunisia, hinting at the country’s many tensions, both productive and destructive. By utilizing the cool documentary language of photography—yet subverting the expected and traditional representations—we are faced with evocative and suggestive tableaus of a changing country, on the move.