每日归档: 2018-11-19

In an early episode from the second season of the Netflix series Ozark (2017–ongoing), Jacob and Darlene Snell – rural poppy farmers and homesteaders played by Peter Mullan and Lisa Emery – brush off the killing of a cartel lieutenant with a gift of artisanal honey, a terse offer of contrition and an observation to their panicked business partner, Marty Byrde (Jason Bateman), that ‘things happen, you apologize, and you move on.’ (The show is named after the mountain range that stretches across four states of the lower midwestern US.) The Snells represent a world of familial and martial honour that subsume the more mercurial calculations of profit and loss, life and death that are Byrde’s lodestar. They are also the chaotic antagonists in a show built on the conceit that an upper middle-class Chicagoan has been using his asset management business to launder money for a far-reaching Mexican drug operation. Its first season, which aired in 2017, was well timed, riding ahead of HBO’s Ozark-set dramas Sharp Objects and the forthcoming third season of True Detective, and a post-2016 fascination with the US interior and its newly potent voting blocks. Byrde and his family, who are the core of Ozark’s grim fish-out-of-water story, head south, to the shores of the sprawling lake of the same name in central Missouri to hide from the cartel’s proxies after a deal gone bad, and to dig themselves out of debt by setting up new ‘clean’ businesses, red-state style. - 在Netflix系列剧《奥扎克》（2017-2017）第二季的早期一集中，雅各布和达琳·斯内尔——由彼得·穆兰和丽莎·埃默里扮演的农村罂粟种植者和家庭主妇——用手工蜂蜜（一种简洁的悔恨）来抹杀卡特尔中尉。n以及对他们惊慌失措的商业伙伴Marty Byrde（Jason Bateman）的观察，“事情发生了，你道歉，然后你继续前进。”（这个节目是以横跨美国中西部下部四个州的山脉命名的。）Snells代表一个家庭和火星的世界。泰勒的荣誉，让我更准确地计算了利润和损失，生死存亡。他们也是混乱的对手，在一个建立在一个上层中产阶级芝加哥人利用他的资产管理业务洗钱的一个影响深远的墨西哥毒品经营自负。它的第一季，在2017年播出，正好赶上HBO的奥扎克系列剧《锐利目标》和即将上映的《真侦探》第三季，以及2016年后对美国内陆及其新势力强大的投票区块的迷恋。拜德和他的家人是奥扎克可怕的“水外之鱼”故事的核心人物，他们向南前往密苏里州中部的同名湖岸，躲避卡特尔的代理人，在交易失败后，通过建立新的“干净”的企业，使自己摆脱债务。红州风格。

Every body is working in performance. And there’s a lot of it around. Two major new volumes situate the last decade of contemporary art’s most rambunctious medium: RoseLee Goldberg’s Performance Now (Thames and Hudson, 2018) and Catherine Wood’s Performance in Contemporary Art (Tate Publishing, 2018). These are texts that expand from the authors’ respective archives at Performa, New York, and Tate Modern, London, where the performance programmes they have shepherded have become institutions unto themselves. - 每个人都在工作。周围有很多。最近十年，当代艺术最繁琐的媒介——罗斯·李·戈德堡（RoseLee Goldberg’s Performance.）（泰晤士河和哈德森，2018）和凯瑟琳·伍德（Catherine Wood’sPerformanceinContentionalArt）（泰特出版社，2018）出版了两本主要的新书。这些文本是从作者分别在纽约Performa和伦敦Tate Modern的档案中扩充而来的，在那里，他们领导的表演节目已经成为他们自己的机构。