标签为 “Biennale” 的文章

  • 第58届威尼斯双年展,2019——MAY YOU LIVE IN INTERESTING TIME …

    2018.08.09 · 发表评论

    第58届威尼斯双年展,2019——MAY YOU LIVE IN INTERESTING TIMES (国际展) 展览日期 2019年5月11日 - 2019年11月24日 ...

  • 200 MoMA Union Members Hold Protest Ahead of Contract Nego …

    2018.08.08 · 发表评论

    In further news: former Venice Biennale director calls biennial model ‘stale, if not dead’; photographer Shahidul Alam charged over ‘provocative comments’ – 另一则新闻:前威尼斯双年展导演称双年展“过时,如果没有死”;摄影师Shahidul Alam指责“挑衅性评论”。

  • Does Sound Deceive? The Forensic Art of Lawrence Abu Hamda …

    2018.08.06 · 发表评论

    The artist-investigator tunes his work to the undocumented, the surveilled, immigrants and prisoners; those fleeing the talons of the state – 艺术家调查员把他的作品改编成无证件的、被监视的、移民的和俘虏;那些逃离国家爪子的人。

  • Carnivorous Politics, Defiant Bodies: Harare Painting in T …

    2018.08.06 · 发表评论

    In the face of ‘hyena politics’, five artists from the Zimbabwean capital who explore the human form as a symbol of resistance  – 面对“鬣狗政治”,来自津巴布韦首都的五位艺术家探索人类形态作为反抗的象征。

  • MOCA Los Angeles Names Klaus Biesenbach As New Director &# …

    2018.08.06 · 发表评论

    The longtime director of MoMA PS1 heads to the West CoastKlaus Biesenbach. Courtesy: MOCA, Los Angeles; photograph: Casey Kelbaugh – MOMA PS1的长期导演前往西海岸。礼貌:莫卡,洛杉矶;照片:Casey Kelbaugh

  • Open Letters to Adrian Piper – 给Adrian Piper的公开信

    2018.08.06 · 发表评论

    On the occasion of her MoMA retrospective, six missives to the artist from her peersAdelita Husni-Bey
    Thomas Chatterton Williams
    Aaron Flint Jamison
    Pope.L
    Kameelah Janan Rasheed
    Dread Scott
      – 在她妈妈的回忆录之际,她从彼得萨德丽塔(Husni Bey)的六个艺术家的遗漏。

  • Visual Essay: Tools – 视觉散文:工具

    2018.08.05 · 发表评论

    The artist Simon Starling photographs Giorgio Griffa’s studio in TurinThis visual essay is the continuation of a collaboration with the Turin-based painter Giorgio Griffa, which began last year following the discovery of a very particular brush at an urushi [lacquer] workshop in Wajima, Japan. Only 5 cm wide with a flat wooden handle, the brush is employed to apply the critical final coat of lacquer to tableware and furniture in this painstaking, and seemingly anachronistic, process, which dates back to the prehistoric Jomon period (14,000–1,000 BCE). Crucially, its bristles are made from the hair of Japanese women pearl divers or ama. I purchased one of these highly evocative objects with the intention of using it in an artwork yet, for some time, I was daunted by the idea of making marks with it. In May last year, however, I found myself sitting with Giorgio at a dinner to celebrate his participation in the Venice Biennale and realized there and then that I should ask him to collaborate on the work. There seemed to be something in the nature of the brush that aligned with his measured yet exuberant (and often calligraphic) mark-making. His generous response consisted of three cypher-like, ink-on-paper works organized within a grid of folds that led, in turn, to a series of similarly gridded annotations on my part – annotations which reconnected that very particular tool to its origins.

    When I arrived with my 8 x 10-inch plate camera to photograph Giorgio’s studio in late December last year, I found a small trestle table in the middle of the main space with a pile of neatly folded canvases sitting on top. (The artist has used exclusively unstretched, unprimed pieces of canvas, burlap and linen as supports for his paintings since the mid-1970s.) This modest stack – no higher than 30 cm – would comprise, I was told, the entirety of his forthcoming solo exhibition at Camden Arts Centre, London. In folded form, the paintings asserted a quiet materiality; the textiles – in a range of white, cream and brown hues – often frayed at the edges. Even when hung, simply with pins along the top edge, the works retain a sense of being objects that exist resolutely in time and space. Seeing this little stack of paintings and, later, the studio’s remarkable archive – which houses much of the artist’s output from the last 40 years or more – in geological strata-like piles, I realized that I’d brought the right tool to photograph the space. The slowness (exposures can last many minutes), insistent materiality and process-oriented nature of large-format, silver-based photography rhymed with Giorgio’s practice in ways that I hadn’t fully anticipated: even the camera’s gridded, ground-glass focus screen seemed to echo his paintings’ structuring folds. The resulting images are, I hope, a celebration of the lean economy and subtle materiality of these extraordinary artworks.  – 艺术家西蒙·斯塔林拍摄Giorgio Griffa的工作室在TurinThis视觉散文是继续与都灵的画家吉奥吉奥格里夫合作,从去年开始发现一个非常特别的刷子在乌鲁木齐[漆]车间在日本轮岛。只有5厘米宽,有一个扁平的木制手柄,刷子被用来将油漆的最终涂层涂抹到餐具和家具上,这是一种痛苦的,似乎是过时的工艺,可以追溯到史前的乔门时期(14000—1000 BCE)。最重要的是,它的鬃毛是由日本妇女珍珠潜水员或AMA的头发制成的。我买了其中的一个高度唤起的对象,目的是使用它在一个艺术品,但有一段时间,我感到害怕的想法做标记与它。然而,去年5月,我发现自己和吉奥吉奥坐在一起庆祝他参加威尼斯双年展,并意识到我应该请他在这项工作上合作。在画笔的本质上似乎有一些东西与他测量的,但仍然旺盛的(通常是书法)标记相一致。他慷慨的回应包括三个类似于Cyfer-Script的墨水,在一个折叠的网格中组织起来,这导致了一系列类似的网格注释在我的部分-注释中重新连接了一个非常特殊的工具到它的起源。

  • Venice: In Pictures – 威尼斯:图片中

    2018.08.05 · 发表评论

    Images from the 57th Venice BiennaleInstalled in the Arsenale and Giardini, the 57th Venice Biennale runs from 13 May till 26 November 2017. This year the main show in curated by Christine Macel, chief curator at the Centre Pompidou in Paris – 图片来自第五十七个威尼斯双年展安装在阿萨尔和卡蒂尼,第五十七届威尼斯双年展运行5月13日至2017年11月26日。今年的主要节目由巴黎中央蓬皮杜首席馆长Christine Macel主持。

  • ‘Political Art Sharper Than a Razor Blade’: Postcard From …

    2018.08.05 · 发表评论

    From shows exploring transgender issues to work featuring politicians prancing with toilet bowls, much has changed in the Uruguayan capital  – 从展示变性问题到以政客们用马桶冲浪为特征的工作,乌拉圭首都已经发生了很大变化。