分类 “艺闻” 下的文章

  • As UK Parliament Prepares to Vote, this Artist is on a Mis …

    NEW! 2019.01.15 · 发表评论

    On 9 January 2019, Leave Means Leave – a cross-party pro-Brexit pressure group with close ties to Leave.EU and Nigel Farage – sent a letter to the Charity Commission for England and Wales accusing The Photographers’ Gallery in London of ‘possibly criminal’ use of taxpayers’s money to fund ‘anti-Brexit propaganda’, and demanding that the gallery’s charitable status be withdrawn. Anticipating protest, The Photographers’ Gallery sought legal advice from the Arts Council long before artist Jonas Lund’s propaganda office Operation Earnest Voice (2019) was unveiled. In the Charity Commission guidelines, political activity is considered legitimate on the condition that it supports the delivery of an institution’s charitable purposes. The gallery affirms that Lund’s work fulfils their charitable objective to exhibit new media and technology that responds to the evolving nature of photography in the 21st century – in this case, the targeted dissemination of advertisements that played a pivotal role in the result of the EU referendum. – 2019年1月9日,休假意味着休假——一个与休假关系密切的跨党派支持脱欧的压力集团。欧盟和奈杰尔·法拉奇(Nigel Farage)向英格兰和威尔士慈善委员会(Charity Commission for England Wales)发出了一封信,指控伦敦的摄影师画廊“可能是犯罪的”利用纳税人的钱资助“反脱欧宣传”,并要求泰国政府批准该计划。画廊的慈善地位将被取消。在艺术家Jonas Lund的宣传办公室Operation Earnest Voice(2019)揭幕之前,摄影师的画廊期待着抗议,就向艺术委员会寻求法律建议。在慈善委员会的指导方针中,政治活动被认为是合法的,前提是它支持一个机构的慈善目的的实现。画廊确认,Lund的作品实现了他们的慈善目标,展示新媒体和新技术,以响应21世纪摄影的发展本质——在这种情况下,有针对性地传播广告,这在欧盟公投的结果中起到了关键作用。

  • Blood in the Lung: Ron Athey, Cassils and Fanaa Conjure a …

    NEW! 2019.01.15 · 发表评论

    This past December, I hopped on a bus in a fit of art tourism. My destination was Biosphere 2: built in 1987, the vast greenhouse complex was an experiment in creating a self-sustaining ecosystem, should earth eventually prove herself uninhabitable. Infamous in the scientific community, I found that its mention solicited a kind of cultish awe. When the structure got a little too hippy for its big-oil funders, Steve Bannon was apparently brought in to break up the party. – 去年12月,我跳上了一辆巴士,参加了艺术旅游。我的目的地是生物圈2:这座巨大的温室建筑建于1987年,是一个创造自我维持生态系统的实验,如果地球最终证明自己不适宜居住的话。在科学界声名狼藉,我发现它的提及引起了一种崇拜的敬畏。当该组织对其大型石油投资者来说过于嬉皮时,史蒂夫·班农显然是被带进来解散该党的。

  • What Does the Success of Fashionably Autobiographical ‘Rom …

    NEW! 2019.01.15 · 发表评论

    Alfonso Cuarón has a thing for distance and height. Like Gravity (2014), the opening shot of last year’s Roma sees the world of Cleo – an indigenous woman and domestic worker for the movie’s middle-class Mexican family – from above. In this case, the above is not very high, maybe a few metres. The below is a stone pavement being washed. As the water begins to pool, the camera catches a doorway in the reflection. For Cuarón, the distance between them might as well be as vast as outer space and earth, as in Gravity. But in Roma, terra firma is the optical illusion that the water exposes. Much like a photographic print being developed, the image develops over time in soapy waves. Someone is cleaning, and it is through the reflection, and the water that gradually rises, that a story of female labour and servitude emerges.  – Alfonso Cuar n有一个关于距离和高度的东西。就像重力(2014),去年的罗马的第一张照片从上面看到了克莱奥的世界——一个土著妇女和电影中产阶级墨西哥家庭的家庭工人。在这种情况下,上面不是很高,可能几米。下面是一条正在冲洗的石头路面。当水开始往下流时,相机捕捉到了反射中的一个门口。对于cuar_n来说,它们之间的距离可能和外层空间和地球一样大,就像在重力中一样。但在罗马,陆地是水暴露的光学假象。就像正在冲洗的照片一样,图像会随着时间的推移在肥皂波中显影。有人在打扫,正是通过倒影和逐渐上升的水,一个关于女性劳动和奴役的故事出现了。

  • Blow it to Smithereens? The Fate of Berthold Lubetkin’s Mo …

    2019.01.11 · 发表评论

    ‘Perhaps it’s time to blow it to smithereens’ – with this comment Sasha Lubetkin, the daughter of modernist architect Berthold, has reignited the debate over what to do with the Penguin Pool at London Zoo, which has sat abandoned for more than a decade after its little waddling inhabitants were removed. The fate of this tiny Grade I listed structure, frivolous and avant garde in equal measure, is a microcosm of the legacy of modernist architecture in the UK, which for some reason is still capable of stirring up culture war angst almost a century later. – “也许是时候把它炸成碎片了”——现代主义建筑师伯托德的女儿萨沙·鲁贝特金(Sasha Lubetkin)发表了这一评论,重新引发了关于如何处理伦敦动物园企鹅池的争论。在伦敦动物园的企鹅池被移走后,企鹅池被遗弃了十多年。这座小小的一级建筑的命运,同样是轻浮前卫的,是英国现代主义建筑遗产的缩影,出于某种原因,它在近一个世纪后仍然能够激起文化战争的焦虑。

  • The Cynicism of Netflix’s Interactive ‘Black Mirror: Bande …

    2019.01.11 · 发表评论

    The high-profile return of the interactive movie was not inevitable; the last time around, such a project barely made a cultural dent. 1995’s Mr. Payback opened on 37 screens to critical disdain and barely any audience; wrapping up the year in film, Roger Ebert singled it out as not just the year’s worst movie, but the year’s worst idea for a movie. The choices (with the audience voting through joysticks attached to their cinema seats) in the 20 to 30-minute narrative weren’t of much import; it’s a low-stakes comedy in which all decisions made lead to a happy ending, so the decisions were more along the lines of, should Freddy Krueger make a cameo? – 互动电影的高调回归并不是不可避免的;上一次,这样的项目几乎没有对文化造成影响。1995年的《回报先生》在37个银幕上上映,遭到了批评的蔑视,几乎没有观众;在影片的最后一年,罗杰·埃伯特将其选为不仅是今年最差的电影,也是今年最差的电影创意。20到30分钟的叙述中的选择(观众通过附在电影院座位上的操纵杆投票)并不重要;这是一部风险很低的喜剧,所有的决定都会带来一个愉快的结局,所以这些决定更符合弗雷德·克鲁格应该拍摄一部吗?

  • How Anti-Period Piece ‘The Favourite’ Subverts Hollywood G …

    2019.01.10 · 发表评论

    Greek director Yorgos Lanthimos is an undisputed master of the existentialist chamber drama. His films, which rely on classic theatrical principles, typically maroon a small cast in cloistered environments where time – a dwindling clock, or vast expanses of boredom – looms like a curse. Dogtooth (2009) centres on a nuclear family hidden away at a Greek country estate, their only connection to the world a Mercedes-driving father. The Lobster (2015), by contrast, is set at a hotel retreat that is part sanitorium, part trans-migratory waiting room, a place where an elegant cast (including Rachel Weisz and Colin Farrell) shed their humanity and eventually turn to animals. In both instances, the banality of daily life is full of meaning, and in spite of the scenic isolation, the films are plainly allegories that probe the grey areas in which old social orders are at once inadequate and seemingly intractable. Such anxieties animate much of the Greek ‘weird wave’ – the efflorescence of low-budget films that emerged in the aftermath of a debt crisis that has roiled the country since 2010 – of which Lanthimos has been a de facto standard bearer. – 希腊导演约戈斯·兰希莫斯是存在主义室内戏剧无可争议的大师。他的电影依赖于经典的戏剧原则,通常是褐红色的,一个在与世隔绝的环境中的小演员,在这种环境中时间——一个逐渐缩小的时钟,或是一片巨大的无聊——像是一种诅咒。相比之下,E龙虾(2015年)位于酒店的一处休养地,部分是疗养院,部分是迁徙候诊室,一个优雅的演员(包括瑞秋·魏斯和科林·法雷尔)将他们的人性化和最终转向动物的地方。在这两种情况下,日常生活的平庸都充满了意义,尽管风景很孤立,但这些电影显然是寓言,探讨了旧社会秩序既不充分又似乎难以处理的灰色区域。这种焦虑在很大程度上刺激了希腊的“怪异浪潮”——自2010年以来,在一场债务危机后出现的低成本电影风起云涌——其中兰希姆斯实际上是一个旗手。

  • Your Guide to the Best Shows at London Gallery-Share Condo …

    2019.01.10 · 发表评论

    This coming weekend marks the opening of the fourth iteration of Condo, an annual gallery-sharing initiative that brings together galleries from around the world – predominantly from across the USA and Germany, as well as others from Egypt, South Africa, Chile and China. Started here in London in 2016 by Vanessa Carlos, owner of Carlos/Ishikawa, it’s a month-long ‘collaborative exhibition’, which has since spawned Condos in New York, Mexico City, Shanghai, and smaller versions last year in Athens and Sao Paulo. Other gallery cooperation models had existed before, like Amsterdam gallerist Jeanine Hofland’s one-day mini fair, A Petite Fair, or the ‘Villa’ project initiated by Raster Gallery in Warsaw in 2006. However, Condo has proved a timely spark at a time of smaller- and mid-size gallery closures and blue-chip consolidation, inspiring other similar style projects such as Okey Dokey in Dusseldorf and Cologne, Friend of a Friend in Warsaw, and Gallery Share Los Angeles. As the idea expands, Condo London has accordingly grown each year, with this year’s edition featuring 52 galleries over 18 spaces across London. There’s a lot of ground to cover, so here’s a quick guide to some of the highlights: – 即将到来的这个周末标志着第四代公寓的开幕,这是一个年度画廊分享计划,汇集了来自世界各地的画廊——主要来自美国和德国,以及来自埃及、南非、智利和中国的其他画廊。由Carlos/Ishikawa的所有者Vanessa Carlos于2016年在伦敦开始,这是一个为期一个月的“合作展览”,自那以后,它在纽约、墨西哥城、上海以及去年在雅典和圣保罗催生了一些小型公寓。其他画廊合作模式以前也存在过,如阿姆斯特丹画廊珍妮霍夫兰的一天迷你展、小型展览会或2006年华沙光栅画廊发起的“别墅”项目。然而,事实证明,在中小型画廊关闭和蓝筹股整合的时代,公寓是一个及时的火花,激励了其他类似风格的项目,如杜塞尔多夫和科隆的奥基·多基,华沙一个朋友的朋友的朋友,以及洛杉矶的画廊共享。随着这个想法的扩展,伦敦公寓每年都有相应的增长,今年的版本在伦敦有52个画廊,超过18个空间。这里有很多要介绍的地方,下面是一些要点的快速指南:

  • Architects: Unsuitable Cases for Stardom? – 建筑师: …

    2019.01.09 · 发表评论

    By the time Philip Johnson died in 2005, aged 98, his architectural influence and patronage had stretched from (modernist) post to (postmodern) pillar and beyond. Frank Gehry delivered his funeral address. Mark Lamster’s nimble new biography,The Man in the Glass House (2018; Little, Brown), tells two parallel stories: one a Gatsby-like parable of wealth, beauty and immorality (as a fascist and Hitler supporter in the 1930s); the other, the tale of a man who knew that, above everything in life, he wanted influence. Triumphantly, Johnson was to become more notorious than Le Corbusier, as much in the spotlight as Frank Lloyd Wright. He was the first ‘starchitect’.  – 菲利浦·约翰逊于2005年去世,享年98岁,他的建筑影响力和赞誉已经从(现代主义)后柱延伸到(后现代主义)后柱。弗兰克·盖里发表了他的葬礼地址。马克·拉姆斯特(Mark Lamster)灵活的新传记《玻璃屋中的男人》(The Man in the Glass House)(2018;Little,Brown)讲述了两个类似的故事:一个是盖茨比式的财富、美丽和道德败坏的寓言(1930年代是法西斯和希特勒的支持者);另一个是一个男人的故事,他知道,在生活中最重要的是,他想要影响力。成功的是,约翰逊将变得比勒柯布西耶更臭名昭著,正如弗兰克劳埃德赖特一样在聚光灯下。他是第一个“星体”。

  • A Different Kind of Politics at the Doclisboa Film Festiva …

    2019.01.09 · 发表评论

    Back in 2016, the Czech journalist Saša Uhlová rigged herself with a secret camera and ground through six inhumane months in the most precarious, low-paid, brutal jobs she could find. Before long, Uhlová’s footage was stitched into a documentary by Apolena Rychlíková, The Limits of Work (2017), one difficult moment amongst many at Doclisboa’18 Film Festival in Lisbon. While Rychlíková’s experiment in investigative journalism revealed many expected barbarities, its most surprising elucidation was that one of today’s most taxing jobs is also one of the most visible: that of the supermarket cashier, forever exchanging food for money beneath bright lights and constant pressure. – 2016年,捷克记者萨阿乌洛夫(Sa_a Uhlov)在她能找到的最不稳定、低收入、最残酷的工作中,用一台秘密相机和地面武装自己,度过了六个不人道的月。不久,乌洛夫的影片就被阿波琳娜·里奇尔·科夫(Apolena Rychl_Kov_)编成了一部纪录片,《工作的极限》(2017年),在里斯本Doclisboa的18部电影节上,这是许多人的一个艰难时刻。虽然Rychl_kov_的调查性新闻实验揭示了许多预期中的野蛮行为,但最令人惊讶的解释是,今天最繁重的工作之一也是最明显的工作之一:超市收银员,在明亮的灯光和持续的压力下永远用食物换钱。