Nari Ward – Crying Form, Rising Symbol 2010 (detail). Shoe laces, H 230 cm. Photo: Lorenzo Fiaschi.
瓦尔德
‘Down Doors’
原文:常青画廊
Nari Ward – Crying Form, Rising Symbol 2010 (detail). Shoe laces, H 230 cm. Photo: Lorenzo Fiaschi.
原文:常青画廊
1986年,我在洛杉矶生活了一年,当时我是盖蒂研究所的学者,朋友们带我去看了弗兰克·劳埃德·赖特的一些房子。其中有几个被神秘地藏起来,在那个时候,其中一个或两个已经破败和过度生长;他们看起来像玛雅人的废墟消失在前进的丛林中。为了更深入地了解这些奇怪而神奇的建筑的起源,我偶然发现了玛丽安·玛霍尼·格里芬
In further news: UK threatens to leave UNESCO; Pace team up with Christo
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Edgar Degas, Portrait of Mlle. Gabrielle Diot, 1890. Courtesy: Art Recovery International – 另一则新闻:英国威胁离开联合国教科文组织;与克里斯托合作步伐
第十届三月会议——行为格式,2018年3约17-19日在沙迦艺术基金会举办。
对于在阿联酋举行的为期三天的活动,最好的作品和谈话就是那些因地理和文化产生的混杂与融合,并通过这所有的混杂产生亮点。
‘observing eyes, flexible minds and skilled hands’Josef Albers, Search Versus Re-Search (1969)Since its inception, in 2012, the Istanbul Design Biennial has carved a space for thought-provoking and critical curatorial positions unlike any other event in the global design calendar. Titled ‘A School of Schools’ and curated by Jan Boelen with Nadine Botha and Vera Sacchetti, its fourth edition looks to education and learning paradigms that, as the curators write in their introductory essay, look ‘beyond design as solution and school as institution’. The curatorial premise builds upon a century-long history of pedagogical critique and cultural radicalism – from the 1919 Bauhaus Manifesto, to Black Mountain College, to the ‘hippie modernism’ of the Whole Earth Catalog and the Italian Global Tools initiative, among many others. While inspired by such precedents, the biennial seeks to interrogate their legacy, as well as to reflect on the inadequateness of extant educational models vis-à-vis the uneven socio-economic conditions of the global present. Searching for alternative propositions to rescue design education from the functional pragmatism of industrialized creativity, ‘A School of Schools’ asks: ‘What if the school we need now is a personal attitude of questioning and figuring out?’ – “观察的眼睛,灵活的头脑和熟练的手”约瑟夫·阿尔伯斯,搜索与重新搜索(1969)伊斯坦布尔设计双年展自2012年成立以来,已为发人深省和关键的策展位置开辟了一个空间,不同于全球设计日历上的任何其他活动。它的第四版名为“学校学校”,由简·波伦与纳丁·博塔和维拉·萨切蒂共同策划,它着眼于教育和学习范式,正如馆长在介绍性论文中写道,这些范式超越了设计作为解决方案,学校作为机构。策展的前提是建立在从1919包豪斯宣言教育批判文化激进主义–长达一个世纪的历史,在黑山学院,对整个地球的目录”和“嬉皮士现代意大利全球工具主动,等等。而受这样的先例,两年一次的试图询问他们的遗产,以及反映不够现存的教育模式对à可见的全球存在不均匀的社会经济条件。寻找替代主张救援设计教育从工业化创新功能的实用主义,“学校学校问:“如果我们需要学校现在是一个人的质疑和发现的态度?’