每日归档: 2018-10-18

Natalie Häusler, ‘Honey’ KIT (Kunst im Tunnel), Düsseldorf 23 June – 23 SeptemberAt KIT, an unused tunnel under the Rhine, Natalie Häusler makes use of the special spatial situation to create a kind of idyllic underwater garden. The central work is the 10-metre long Kneipp basin Bethsabée reste au bains ((Bathsheba at her Bath, 2018), whose outer tiles make up a text that can be read by walking round the basin several times. But the story can also be followed on headphones: the artist has rewritten the biblical story of Bathsheba and David to give the woman an active role in rejecting the horny voyeuristic King. Loving the motor-cycle (2017) also speaks of the difficulty of obsessions. Visitors sit on a stationary Honda racing bike listening to a kind of podcast in which Häusler and a friend talk about her friend’s young daughter who has a fascination with motorbikes, at the same time as being insanely scared of them. I won’t give away whether or not little Ada overcomes her fear. Suffice to say that even in the garden of desire, every rose has its thorn. - 娜塔利·H·苏斯勒：“亲爱的”

If Mandy – the new film by Italian-Canadian director Panos Cosmatos, released in the UK this month – had been made in the 1960s, it might have been categorized as bikesploitation on account of The Black Skulls, a demonic motorbike gang who stalk the California mountain forests where the film is set. The chainsaw-wielding weirdos in those mountains could have dragged the movie squealing like a pig into hicksploitation redneck horror, and the LSD that everyone appears to be either micro- or macro-dosing throughout certainly would have tripped Mandy into psychsploitation, too. The Children of the New Dawn, a murderous hippie-Christian cult in cahoots with The Black Skulls, might have given the film a godsploitation label, but the heavy metal aesthetic that kerrangs throughout Mandy takes it into glorious rocksploitation. All this before we’ve even gotten to the core theme of loss and retribution that makes it a gory revenge movie, a splatter that matters. Did I mention that The Black Skulls also like human flesh? So, if Cosmatos made this film in the 1960s, he’d have made a cannibalpsychbikerockgodhicksplattersploitation flick. And that doesn’t even begin to cover it. - 如果《曼迪》这部由意大利裔加拿大导演帕诺斯·科斯马托斯本月在英国上映的新电影是在20世纪60年代拍摄的，那么它可能会被归类为《黑骷髅》，一个恶魔摩托车团伙，潜行在加利福尼亚的山林中，电影就是在那里拍摄的。S集。在那些山里那些挥舞着电锯的怪人会把电影像猪一样尖叫的拖进乡下人的恶作剧，而整个过程中每个人似乎都是微观或宏观剂量的LSD肯定也会把曼迪拖进心理探索的陷阱。《新黎明之子》，一个与《黑骷髅》合谋的凶残的嬉皮士和基督教的崇拜，也许给这部电影贴上了“神谕”的标签，但贯穿曼迪的重金属美学却把它带入了光荣的摇滚乐。所有这一切之前，我们甚至已经得到损失和报复的核心主题，使之成为血腥的复仇电影，飞溅的问题。我说过黑骷髅也喜欢人肉吗？所以，如果Cosmatos在20世纪60年代制作了这部电影，他就会制造出一个吃人鬼的电影。甚至还没有开始覆盖它。

In late September, as Warsaw was easing into autumn with its regular protests, marathons and detours, its local and visiting galleries joined forces to open their doors for the eighth edition of Warsaw Gallery Weekend. Following a move in which a number of galleries established an enterprise with the aim of structuring the organizational duties and responsibilities, the three-day event brought exhibitions from 29 participating galleries. Here’s a look at some of its highlights. - 9月下旬，随着华沙定期举行抗议、马拉松和绕道进入秋天，当地和来访的画廊联合起来，为第八版《华沙画廊周末》敞开大门。在许多画廊建立了一个旨在组织职责和职责的企业之后，为期三天的活动带来了29个参展画廊的展览。下面是它的一些亮点。