标签为 “Biennale” 的文章

  • The Best Shows to See in Dusseldorf – 杜塞尔多夫最好 …

    NEW! 2018.11.15 · 发表评论

    kvd18_um_diavolaki_2018.jpg Ulrike Müller, Diavolaki, 2018, monotype, 74 x 57 cm. Courtesy: the artist and Callicoon Fine Arts, New York – KVD18UMU-DIAVOLAKII2012.JPG

  • Marvel Comics’ Stan Lee Dies Aged 95 – 奇迹漫画《斯 …

    2018.11.13 · 发表评论

    In further news: Berlin cultural institutions rally against far-right; Tate Liverpool to stage first UK show dedicated to Keith Haring – 进一步的消息:柏林文化机构联合起来反对极右派;泰特·利物浦为基思·哈林举行英国首场演出

  • With Shanghai’s Busiest Art Month Underway, Highlights of …

    2018.11.06 · 发表评论

    ‘Proregress’ 12th Shanghai Biennale The Power Station of Art 10 November, 2018 – 10 March, 2019 – 第十二年度上海双年展

  • Rebecca Belmore: The Aesthetics of Indigenous Protest R …

    2018.11.02 · 发表评论

    In the summer of 1990, the Canadian government deployed the largest number of troops since the Korean War. Tanks and guns and jackbooted soldiers arrived not overseas but in the small Quebecois town of Oka to enforce the construction of an additional nine holes on a local golf course. The extension of the leisure class’ grass playground would mean further destruction of The Pines, a traditional burial ground of the nearby Mohawk communities of Kanehsatàke and Kahnawake. In response to this threat, approximately 30 Mohawk men erected a barricade to block entrance into The Pines. After confrontation with local police, this blockade swelled. Canadian media and official record called it the Oka Crisis; for the Mohawks, it was the Oka Uprising. This, too, is how it is remembered by the hundreds of Native peoples throughout North America who followed the blockade on television, or travelled to join in arms, or learned about it years later, as I did from a future elder. As the artist Rebecca Belmore has said: ‘All Native people were affected by that summer.’ Like the shooting down of General George Custer during the Battle of the Little Bighorn in 1876, it is one of our beloved victories. – 1990夏季,加拿大政府自朝鲜战争以来部署了最多的军队。坦克、枪支和轻便马靴的士兵没有到达海外,而是到达了魁北克小镇奥卡,在当地的高尔夫球场上建造了另外九个洞。休閒阶层的草地游乐场的扩展将意味着松树园的进一步破坏,松树园是邻近的莫霍克社区Kanehsatàke和Kahnawake的传统墓地。为了应对这一威胁,大约30名莫霍克人竖起路障阻止松树进入。在与当地警察发生冲突后,封锁加强了。加拿大媒体和官方记录称这是OKA危机;对于莫霍克人来说,这是奥卡起义。这也是北美各地数百个土著民族如何记住的,他们跟随电视上的封锁,或前往参加武装,或多年后了解它,就像我从未来的长辈那里做的那样。正如艺术家丽贝卡·贝尔莫尔(Rebecca Belmore)所说:“所有原住民都受到那个夏天的影响。”就像1876年在小巨角战役中乔治·卡斯特将军被击毙一样,这是我们最爱的胜利之一。

  • Across Australia, Artists are Disrupting the Colonial Mind …

    2018.11.01 · 发表评论

    In the Australian art world, ‘decolonization’ has become a buzzword in academia, galleries and museums, yet our Aboriginal and Torres Strait Islander artists have been calling for decolonization and asserting sovereignty for decades. The process of decolonization requires ongoing work and our peoples have created generational legacies of storytelling about surviving colonization through art, theatre, literature and community activism. Sovereignty is central to the identity and well-being of Indigenous peoples in our fight for justice. The arts are an accessible and engaging way of discussing these complex issues in a country where white colonial and patriarchal narratives dominate public spaces. In recent years, a social-media revolution has been mobilized by Indigenous scholars, artists and activists who descend from a lineage of Aboriginal resistance through letter- and petition-writing. There is also an emerging Aboriginal podcast culture: Wild Black Women, for example – hosted by the academic Dr Chelsea Bond and the comedy writer Angelina Hurley – is a sharply funny and politically astute programme that takes racism, whiteness and the patriarchy to task. – 在澳大利亚艺术界,“非殖民化”已经成为学术界、美术馆和博物馆的一个时髦词,然而几十年来,我们的土著和托雷斯海峡岛民艺术家们一直呼吁非殖民化和维护主权。非殖民化进程需要不断努力,我们各国人民通过艺术、戏剧、文学和社区活动创造了一代又一代的传奇故事,讲述殖民地幸存下来的故事。主权是我们争取正义的原住民的身份和福祉的核心。在一个白人殖民主义和父权主义叙事占据公共空间的国家,艺术是讨论这些复杂问题的一种容易接近和吸引人的方式。近年来,土著学者、艺术家和活动家发动了一场社会媒体革命,他们通过写信和请愿书从土著反抗血统中脱颖而出。还有一个正在兴起的原住民播客文化:例如,由学术界切尔西·邦德博士和喜剧作家安吉丽娜·赫利主持的《野生黑人妇女》就是一个非常有趣和政治精明的节目,它以种族主义、白人和父权制为任务。

  • One Word: The Meaning of ‘Hegemony’ – 一个词:“霸权” …

    2018.11.01 · 发表评论

    Naeem Mohaiemen on the ‘soft dominance’ that has made certain stories familiar and others strange – Naeem Mohaiemen论“软支配”,它使某些故事变得熟悉,而另一些则奇怪。

  • Decolonial Documents: Part One – 非殖民化文件:第一 …

    2018.10.30 · 发表评论

    Current conversations around decolonizing culture are not new: they are informed by multiple histories that have questioned Western hegemony. In the first of a six-part series, we asked five artists, curators and writers whose work has been involved with this challenge to discuss the projects that have informed their thinking – from exhibitions and publications to more intangible and transient networks, whose effects are often more felt than documented, though no less significant. – Current conversations around decolonizing culture are not new: they are informed by multiple histories that have questioned Western hegemony. In the first of a six-part series, we asked five artists, curators and writers whose work has been involved with this challenge to discuss the projects that have informed their thinking – from exhibitions and publications to more intangible and transient networks, whose effects are often more felt比记录的,虽然不那么重要。

  • Everything and Everywhere is a School: What Can We Learn f …

    2018.10.25 · 发表评论

    ‘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?’

  • 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