标签为 “圣保罗” 的文章

  • With the Election of Jair Bolsonaro as President, Brazilia …

    2018.10.31 · 发表评论

    It was a regular Sunday in October in São Paulo – sunny and chilly. My original plan was to walk towards Paulista Avenue – one of the city’s main thoroughfares – to see the exhibition ‘Afro Atlantic Histories’ at MASP (the São Paulo Art Museum), which was closing that day. The survey – included 450 works by 214 artists from Africa, the Americas, the Caribbean and Europe, and spanned five centuries – promised to weave together multiple strands of Afro-Atlantic visual culture and provide a starting point for discussing colonial legacies and identity politics. Brazil was one of the last major countries in the world to abolish slavery and has the largest African-descendent population in the planet – it’s about time these pressing issues appear in art programmes. On my way to the show, I bumped into a demonstration in support Jair Bolsonaro – the far-right politician who was, after this writing, elected President by a wide-margin – that stretched for a few blocks of the avenue’s extension. Speakers, placed in front of the museum, amplified his delusional and repulsive speech and blasted it toward anyone entering MASP. I suspect this was deliberate. – 这是十月Paulo的一个晴朗的星期日,阳光明媚,寒冷刺骨。我最初的计划是步行到保利斯塔大街——这个城市的主要通道之一——去看那天即将关闭的MASP(圣保罗艺术博物馆)的“非洲大西洋历史”展览。这项调查包括了来自非洲、美洲、加勒比和欧洲的214位艺术家创作的450幅作品,跨越了五个世纪。调查承诺将把非洲-大西洋视觉文化的多条线交织在一起,为讨论殖民遗产和身份政治提供一个起点。巴西是世界上最后一个废除奴隶制的主要国家之一,也是这个星球上非洲后裔人口最多的国家之一——这些紧迫的问题应该出现在艺术节目中了。在我去演出的路上,我碰巧遇到了支持Jair Bolsonaro的示威游行,Jair Bolsonaro是极右派政治家,在写完这篇文章后,他以很大的优势当选总统。站在博物馆前面的发言者放大了他的妄想和令人反感的演讲,并向任何进入MASP的人猛烈抨击。我怀疑这是故意的。

  • 班克斯自毁恶作剧的无政府状态、虔诚与名人

    2018.10.23 · 发表评论

    不管你觉得这幅画是辛辣的还是令人作呕的,它都颇具吸引力。然而,如果我们仔细看这段录像,观众中娱乐的反应会揭示出更多关于艺术世界的信息,在这个相对世俗的时代,不管它声称的是什么颠覆或解构,艺术仍然热衷于信仰和崇拜。

  • Brazilian Modernism: Feminism in Disguise – 巴西现代 …

    2018.10.19 · 发表评论

    The recent exhibition ‘Tarsila do Amaral: Inventing Modern Art in Brazil’, at New York’s Museum of Modern Art, credits the artist with creating the visual identity of Brazilian modern art. This begs the question: why did so many Brazilian women artists reject feminist discourse, even as their works struggled with similar issues addressed by their counterparts in the US and elsewhere? The most common explanation has been that Brazilian women artists, such as Do Amaral, had a prominent role in the visual arts and so didn’t need to fight for space or visibility. According to the critic and curator Paulo Herkenhoff, women were more than contributors to the visual arts in Brazil: they were the driving force of Brazilian art in the 20th century. – 最近在纽约现代艺术博物馆举办的“Tarsila do Amaral:在巴西发明现代艺术”展览,认为艺术家创造了巴西现代艺术的视觉特性。这就引出了一个问题:为什么这么多巴西女艺术家拒绝女权主义话语,即使她们的作品在美国和其他地方遭遇了类似的问题?最普遍的解释是,巴西女艺术家,如Do Amaral,在视觉艺术中具有突出的作用,因此不需要为空间或能见度而斗争。据评论家兼策展人保罗·赫肯霍夫说,在巴西,女性不仅仅是视觉艺术的贡献者:她们是20世纪巴西艺术的推动力。

  • Female Patrons Throughout History – 历史上的女性赞助人

    2018.10.19 · 发表评论

    For more than 3,000 years, patronage of art and architecture has been a noteworthy path for women’s agency and self-expression. Over recent decades, patronage studies – which bring together issues of personal and group identity, political power and cultural production – have come to occupy a significant place in the history of art. It is well known that, in many cases, informed and intelligent patrons took an active role in shaping the character of the works they commissioned. The English term ‘patron’ comes from the Latin patronus (protector of clients or dependents, specifically freedmen), which is, in turn, derived from pater (father). Thus, the term ‘patronage’ is inherently gendered and, in nearly all cases, female patrons worked within the limitations of patriarchal societies. Yet, from Antiquity to the present day, women have requested (and collected) works of art and have commissioned buildings and urban interventions. It is important to stress that the patronage systems of the past were based on social stratification and inequalities in power and economic standing – so, in general, patronage by both women and men was the province of elites, who had the means to extend commissions. Some art historians have used the neologism ‘matronage’ when discussing women patrons but, along with most scholars working on the topic today, I prefer to use the traditional – albeit gendered – term patronage.  – 3000多年来,赞助艺术和建筑一直是妇女自我表现和代理的重要途径。近几十年来,赞助研究——将个人和群体身份、政治权力和文化生产等问题结合在一起——在艺术史上占据了重要的地位。众所周知,在许多情况下,知情和聪明的赞助人在塑造他们委托的作品的性格方面起到了积极的作用。英语术语“patron”来源于拉丁语的patronus(客户或受抚养人的保护者,特别是自由人),而后者又来源于pater(父亲)。因此,术语“赞助”具有固有的性别,在几乎所有情况下,女性赞助人在父权社会的限制下工作。然而,从古代到现在,妇女已经要求和收集艺术品,并委托建筑和城市干预。必须强调的是,过去的资助制度是建立在社会分层、权力和经济地位不平等的基础上的——因此,一般来说,男女资助都是精英阶层的所在地,精英阶层有扩大佣金的手段。一些艺术历史学家在讨论女性赞助人时,使用了新词“主客观”,但与大多数学者讨论今天的话题相比,我更喜欢使用传统的——尽管是性别的长期赞助。

  • The Best Shows Across São Paulo Ahead of the 33rd Bienal & …

    2018.10.18 · 发表评论

    Bárbara Wagner and Benjamin de Burca ‘Canada. 20’ Galeria Fortes D’Aloia & Gabriel 4 September – 6 October – 瓦格纳和Benjamin de Burca的加拿大。20

  • Welcome to the Centre of the World: Around the Azores’ Wal …

    2018.08.13 · 发表评论

    A three-hour flight west of Lisbon, a setting of emerald landscapes and panoramic ocean views backdrops this annual Summer project  – 一个三小时的飞行在Lisbon以西,一个翡翠景观和全景海景背景背景下这个年度夏季项目。

  • A Journey into the Divine in São Paulo – 圣·Paulo的 …

    2018.08.04 · 发表评论

    Chris Wiley undertakes a gallery crawl during SP-Arte, taking in shows by Hilma af Klint, Paulo Nimer Pjota and Nicolás Paris – Chris Wiley在SP-ART期间进行了一次画廊式的爬行,在Hilma af Klint、Paulo Nimer Pjota和Nicol的巴黎演出。

  • 邱志杰——寰宇全图 (个展)

    2018.07.26 · 发表评论

    早在近十年前,邱志杰即在其数场展览的画册中呈现了描摹其作品关联性的“地图”——将研究、写作、幻想和行动脚本统一起来的“世界地图计划”由此诞生。在他随后创作的数百幅地图中,山水笔墨构造的坐标系凝练地将观念、个人、物件、事物和事态编织在一起,以提供在相互关系中理解它们的可能性。这些精心绘制的地图具有思维导图特质,因而得以被用作各种展览的蓝图,如邱志杰于2012年策划的、以城市之复兴为主题的第9届上海双年展,或是近期在古根海姆博物馆举办的展览“1989后的艺术与中国:世界剧场”(2017-2018)——艺术家为后者创作了一幅联结起展览中的艺术品、艺术家和重要历史事件的纪念地图。艺术家所创作的地图同样可视为独立的作品,“万物系列”“众生系列·类型学”“自传系列”“叙事地图系列”“空间地图系列”“行动地图系列”等系列中的地图均强调其自为的构建性。近十年来,地图在邱志杰的艺术实践中承载了多重功能:它既是自我意识、工作框架、展览计划、思想交流、政治拓扑,也承担了历史文化研究提纲挈领之功能。这一系列地图最终反映出邱志杰集艺术家、教育家、策展人、理论家和博采众长的地图制作者于一身的复杂身份。

  • 安东尼‧葛姆雷——根生根寻 (个展)

    2018.03.15 · 发表评论

    香港白立方隆重呈献安东尼‧葛姆雷的第二次个展「根生根寻」,展出艺术家近两年创作的全新「根者」铸铁雕塑系列。艺术家跨越写实的藩篱,开拓创作的新路向,以植物似的分枝纟统刻划个体于空间中的状况。