标签为 “巴西” 的文章

  • 草间弥生——我对爱的憧憬全部从我内心出发 (个展)

    2018.11.04 · 发表评论

    上海大田秀则画廊荣幸地呈献草间弥生的个展“我对爱的憧憬全部从我内心出发”,本次展览将主要展出32幅来自其“我永恒的灵魂”系列的作品,一座窥探式镜屋和多座软雕塑。作为一位国际知名的艺术家,草间弥生的创作至今始终充满了活力、富有革新精神并跨越多学科,持续鼓舞与吸引着全世界人们的心。

  • New Database ‘A Space of One’s Own’ Celebrates the Women A …

    2018.11.02 · 发表评论

    Researchers have compiled an illustrated resource that throws light on overlooked female artists from the 15th to 19th centuries – 研究人员已经编纂了一个图示的资源,从第十五到第十九个世纪吸引了被忽视的女性艺术家。

  • One Take: Kemang Wa Lehulere’s Performance of Self-Excavat …

    2018.11.01 · 发表评论

    Kemang Wa Lehulere, not quite 35 years old, could easily be mistaken for an artist of another era: a multidisciplinary mystic of 1940s and ’50s Black Mountain College, like John Cage and Merce Cunningham, say, or an embodied and freewheeling spirit of Willoughby Sharp’s 1970s Avalanche Magazine circle. Indeed, the Capetonian Wa Lehulere was inspired in recent years by Japanese fluxus veteran Mieko Shiomi and shares with those predecessors a sense of levity and play. His work engages with bodies and their environments and he repurposes the detritus around him, resuscitating it as something wholly new. During his commission for Performa 17 in New York, I cut my skin to liberate the splinter (2017), Wa Lehulere moved lithely around a set, shoeless and clad in loose-fitting white garb – like a house painter – while conducting a beautiful cacophony from an array of rough-hewn instruments. During a biennial conceived around the theme of dada, his intervention perhaps most clearly channelled the spirit of his forebears at the Cabaret Voltaire, a whimsically anarchic response to a world riven by nationalism and violence. – 不到35岁的克曼·瓦·勒胡勒很容易被误认为是另一个时代的艺术家:比如,20世纪40年代和50年代的黑山学院,比如约翰·凯奇和梅斯·坎宁安,或者是威洛比·夏普1970年代《雪崩》杂志中体现的、随心所欲的精神。圆圈。事实上,开普敦的Wa Lehulere是近年来受到日本豪华车老手Mieko Shiomi的启发,并与前任分享一种轻浮和玩耍的感觉。他的工作与身体和环境有关,他重新利用他周围的碎屑,使之恢复活力,成为全新的东西。瓦·勒胡勒在纽约参加17场演出的委托期间,我割破了皮肤,解开了碎片(2017年),他穿着宽松的白色外套,一双无鞋,像个室内画家,一边在一排粗糙的器械上演奏着美妙的杂音。在围绕达达的主题构思的两年期中,他的干预或许最清楚地传达了他在伏尔泰内阁祖先的精神,一种异想天开的无政府反应,以应对被民族主义和暴力撕裂的世界。

  • 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。

  • India’s Art World Hit by Sexual Assault Claims; Kochi Bien …

    2018.10.24 · 发表评论

    In further news: world’s biggest arts venue lands in Taiwan; Brooklyn’s Signal gallery to closeRiyas Komu. Courtesy: Wikimedia Commons – 另一则新闻是:世界上最大的艺术会场在台湾登陆;布鲁克林的信号画廊。礼貌:维基媒体共享

  • 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。

  • 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。

  • ACT UP Protest Whitney Museum’s Wojnarowicz Retrospective; …

    2018.08.06 · 发表评论

    In further news: Angela Gulbenkian sued over Kusama pumpkin; and Pussy Riot re-arrested immediately after release from Russian detention  – 在进一步的新闻中:Angela Gulbenkian控告库萨马南瓜;Pussy Riot在俄罗斯拘留释放后立即被捕。