分类 “艺闻” 下的文章

  • What Does the Success of Fashionably Autobiographical ‘Rom …

    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。

  • Looking Back 2018: Brazil and the Body-Electric – 回 …

    2019.01.08 · 发表评论

    2018 was a year marked by flames. From California’s recent wildfires to the extinction of the National Museum in Rio de Janeiro in a devastating fire this past September, this was, to say the least, a gruelling year. I suspect that the Brazilian government’s slovenliness with landmark architecture and historical preservation is not far from Trump’s biased blind eye towards climate change; their actions are the outcome of neglect and greed. – 2018年是一个充满火焰的年份。从加利福尼亚最近的野火到去年9月里约热内卢国家博物馆在一场毁灭性的大火中被扑灭,至少可以说,这是一个令人生厌的一年。我怀疑,巴西政府在标志性建筑和历史保护方面的迟缓,离特朗普对气候变化的偏见视而不见不远;他们的行为是忽视和贪婪的结果。

  • Golden Globe-winning Biopic ‘Vice’ Unwittingly Boosts Dick …

    2019.01.07 · 发表评论

    In a series of comedies that started with 2004’s Anchorman: The Legend of Ron Burgundy and culminated in its 2013 sequel, Anchorman: The Legend Continues, director Adam McKay has established himself as America’s high poet of white guy imbecility. Those two films, plus three feature-length comedies in between, all starred Will Ferrell as some sort of insufferable idiot whose obliviousness to his own destructive tendencies bordered on magical. McKay could have extended the series indefinitely, replacing one cinematic dumbass with the next, but in 2015 he opted to direct The Big Short, a complex and didactic drama starring Ryan Gosling about the 2008 financial crisis. McKay may have switched genres, but he didn’t change his true subject matter: the film is as much about clueless white men and their destructive mistakes as were any of Ron Burgundy’s adventures. If a philosophical question emerged from The Big Short, it was whether it is possible – or worthwhile – to distinguish between stupidity and criminality. As Gosling’s character challenges a room of hedge funders: ‘Tell me the difference between stupid and illegal and I’ll have my wife’s brother arrested.’ Gosling’s finance dude settles the matter himself: ‘There’s some shady shit going down [in the housing market], but it’s fuelled by stupidity.’ – 在一系列以2004年的《主持人:勃艮第传奇》开始,并在2013年的续集《主持人:传奇》中达到高潮的喜剧中,导演亚当·麦凯(Adam McKay)确立了自己是美国白人低能诗人的地位。这两部电影,加上中间三部长篇喜剧,都是威尔·费雷尔主演的,他是一个难以忍受的白痴,对自己的破坏性倾向的遗忘近乎于魔法。麦凯本可以无限期地扩展这个系列,用下一个取代一个电影中的笨蛋,但在2015年,他选择了导演一部由瑞安·戈斯林主演的关于2008年金融危机的大型短剧,一部复杂的说教剧。麦凯可能改变了风格,但他并没有改变他真正的主题:这部电影讲述的是愚蠢的白人和他们的破坏性错误,就像罗恩·勃艮第的冒险一样。如果一个哲学问题从大短句中出现,那就是区分愚蠢和犯罪是否有可能——或者值得。当戈斯林的角色挑战一屋子对冲基金的投资者时:“告诉我愚蠢和非法的区别,我会逮捕我妻子的弟弟。”戈斯林的金融专家自己解决了这个问题:“(房地产市场)有一些可疑的事情要发生,但这是由愚蠢推动的。”