BODYS ISEK KINGELEZ – CITY DREAMS (个展)
| 展览日期 | 2018年5月26日 – 2019年1月1日 |
|---|---|
| 开幕时间 | 2018年5月26日, 星期六 |
| 展览馆 | MoMA (美国 New York City, NY) |
| 策展人 | Sarah Suzuki |
| 艺术家 | Bodys Isek Kingelez |
| 主办方 | MoMA (美国 New York City, NY) |
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We came down like the rain, hard and angular. I landed in Houston in the midst of a vicious storm, not long before air traffic control grounded all departing flights. This wasn’t in the forecast, I thought – but then the airwaves that weekend were full of shaky predictions: a big Blue Wave was coming, and it was going to break first in Texas. I had arrived for the opening preview of the new Menil Drawing Institute, four days before the US midterm elections. – 我们像雨一样下着，又硬又角。我在一场猛烈的暴风雨中降落在休斯敦，不久，空中交通管制就停止了所有起飞的航班。我想这在预测中没有，但是那个周末的电视广播充满了不稳定的预测：一个巨大的蓝浪即将来临，而且它将在得克萨斯州首开纪录。我是在美国中期选举前四天来参加新梅尼尔画研究所的开幕式预览的。
‘Wiggle’
Galerie Greta Meert
7 September – 20 OctoberUnfurling across Galerie Greta Meert’s three floors, ‘Wiggle’ showcases the work of 15 international artists who use sculpture to interrogate the notion of materiality beyond simple denotation. Donald Judd uses stacks and blocks to create non-referential works of art while Terry Adkins assembles locally found objects such as musical instruments and reintroduces them as resounding installations. Katinka Bock experiments with natural materials, using clay ceramic liquid and webbing to articulate thoughts on history and geography and on the other end of the spectrum, Diane Simpson’s work transfigures clothing, furniture and industrial architecture into sculptures that are an observation of the architectonic vs. the domestic. Countering painter Ad Reinhardt’s modernist joke that a sculpture is a thing that you ‘bump into while you back up to look at a painting’, the group show pushes back against convention, giving the form more leeway than tradition has previously allowed. – “摇摆”
前波画廊诚挚地宣布将从2018年6月7日起举办《付小桐：蔓延》。这将是前波为她举办的第三次展览。付小桐1976年出生于山西，2000年从天津美术学院取得学士学位，并在接下来的十年里主要从事绘画创作。在对今后的发展方向感到迷茫时，她进入了中央美术学院实验艺术系继续深造并于2013年毕业。
Fiddling with his ear, dancer David Thomson recites Vladimir Nabokov’s 1952 lecture at Cornell University on the transformation from caterpillar to butterfly. He peeks down the neck of his shirt, then traces his hand along the length of his arm before giving his imaginary hair a toss. (He’s bald.) Another dancer, Keith Sabado, executes the same gestures seconds later. The dancers are never synchronized, and their movement is light and clear, lacking affectation or overt theatricality. The duet ends, and they exittify the stage. – 舞者大卫·汤姆森摆弄着耳朵，背诵了弗拉基米尔·纳博科夫1952年在康奈尔大学关于从毛虫到蝴蝶转变的讲座。他把衬衫的领口偷看，然后在他假想的头发扔之前，沿着手臂的长度描出他的手。（他是秃头）另一个舞蹈家，Keith Sabado，几秒钟后也做同样的手势。舞蹈者从不同步，他们的动作轻盈而清晰，缺乏矫揉造作或明显的戏剧性。二重唱结束了，他们鼓动舞台。