标签为 “Biennale” 的文章

  • How the Myth of a Sacrificed Princess Bewitched Printmaker …

    2019.01.18 · 发表评论

    ‘They said it was a secret society, only for men, and that aroused my interest’, explained Cuban artist Belkis Ayón in 1997 of Abakuá, an all-male secret society brought to Cuba in the 19th century by slaves from Nigeria, and which served as boundless inspiration for her art. Ayón, who committed suicide in 1999 at the age of 32, her career on the rise in Cuba and internationally, left behind a striking body of work on the subject. A virtuosic printmaker, her favoured technique was collography, a labor-intensive process that involves collaging materials onto a cardboard matrix, producing a variety of textures. Her multi-part images included up to 18 individual prints composing nearly mural-sized scenes. Around 1990, she limited her palette to a velvety range of blacks, whites and greys.  – “他们说这是一个秘密的社会,只为男人而存在,这引起了我的兴趣,”1997年古巴艺术家贝尔基斯·阿伊·恩(Belkis Ay_n)解释说,阿贝库是19世纪尼日利亚奴隶带到古巴的一个全男性秘密的社会,对她的艺术起到了无限的启发作用。Ay_n在1999年自杀,年仅32岁,她的职业生涯在古巴和国际上都在不断上升,她留下了一个引人注目的研究课题。作为一个技艺精湛的版画制作者,她最喜欢的技术是白板印刷,这是一个劳动密集型的过程,涉及到将材料拼贴到纸板基质上,产生各种各样的纹理。她的多部分图像包括多达18个个人的版画组成几乎壁画大小的场景。大约在1990年,她把自己的调色板限制在一系列天鹅绒般的黑色、白色和灰色。

  • Mystic Drawings and Designing for Extinction: 2019 Highlig …

    2019.01.17 · 发表评论

    The thoughts of design critic Alice Rawsthorn, author of Design as an Attitude (2018), curator Helen Nisbet, artistic director of Art Night, and Martin Clark, director of Camden Arts Centre, London. – 设计评论家Alice Rawsthorn,《作为一种态度的设计》(2018年),艺术之夜馆长Helen Nisbet,伦敦卡姆登艺术中心主任Martin Clark。

  • Kochi-Muziris Biennale 2018: Possibilities for a Non-Alien …

    2019.01.16 · 发表评论

    The 4th edition of the Kochi Biennale, “Possibilities for a Non-Alienated Life” presents over 100 projects displayed in heritage properties, public spaces, and galleries across Fort Kochi, Mattancherry, and Ernakulam on India’s southwestern coast. Curator Anita Dube has invited 94 practitioners from over 30 countries, forming a dynamic set of social contexts and artistic approaches to share, to listen, and even to challenge the space in an environment of radical openness. Through the Biennale platform, independent curators and mediators have created “infra-projects” that respond to or align with Dube’s larger thematic framework: “Edible Archives” curated by Anumitra Ghosh Dastidar and Prima Kurien, “Sister Library” by Aqui Thami, “Srinagar Biennale” by Veer Munshi, and a project by Durgabai Vyam + Subhash Vyam. – 《高知双年展》第四版“非异化生活的可能性”展示了印度西南海岸高知堡、马丹克雷和厄纳库拉姆的100多个遗产、公共空间和画廊项目。馆长Anita Dube邀请了来自30多个国家的94名从业者,形成了一个王朝。在一个彻底开放的环境中,MIC提供了一套分享、倾听甚至挑战空间的社会背景和艺术方法。

  • Miltos Manetas on his project for the Athens Biennial, nev …

    2019.01.16 · 发表评论

    Mara Sartore: This year you participated in the Athens Biennial, without setting foot in your hometown, can you tell us about how you managed this? – 玛拉·萨托雷:今年你参加了雅典双年展,没有踏足你的家乡,你能告诉我们你是如何管理这个项目的吗?

  • Hashim Sarkis Appointed Curator of the 17th International …

    2019.01.16 · 发表评论

    Hashim Sarkis has been appointed director of the 17th Architecture Exhibition, to be held in Venice from May 23rd to November 29th, 2020. – 哈希姆·萨基斯被任命为第17届建筑展的负责人,将于2020年5月23日至11月29日在威尼斯举行。

  • The Long March: Marking 40 Years of Reform and Development …

    2018.12.28 · 发表评论

    The year 2018 marked 40 years of reform and development in China. However, a gloomy reality has overshadowed the democratic aspirations that many within and outside of the country had associated with the implementation of a market economy. Initially reform and opening up served as an engine to transform China from an impoverished state to a formidable economic power. Yet the process of de-politicization following the student movement in 1989 set the ball rolling on a singular economic track. In 2018, mirroring the rise of right-wing strongmen across the world, everyday life and intellectual discussion have been increasingly subject to tightened surveillance and controls as President Xi consolidates his own powerbase. – 2018年是中国改革开放40年的一年。然而,令人沮丧的现实掩盖了国内外许多人与实行市场经济有关的民主愿望。最初,改革开放是中国从一个贫穷国家转变为一个强大经济力量的引擎。然而,1989年学生运动之后的去政治化进程使经济走上了一条奇特的轨道。2018,反映了右翼强人在世界各地的崛起,日常生活和知识分子的讨论越来越受到严密的监视和控制,因为席总统巩固了自己的权力基础。

  • ‘A Chance to Bring Global Communities Together‘ – “ …

    2018.12.25 · 发表评论

    From the LUMA Foundation in Arles, France, to the Crystal Bridges Museum of Art in Bentonville, USA to M Woods in Beijing: some of the most significant – and exciting – art spaces in the world today are private museums – open for the benefit of the public but supported and, to some extent, directed by private individuals. – 从法国阿尔勒的LUMA基金会,到美国本顿维尔的水晶桥艺术博物馆,到北京的M Woods:当今世界上最重要和最令人兴奋的艺术空间中有一些是私人博物馆——为了公众利益而开放,但在一定程度上是由私人引导的。

  • ‘I Am Not the Problem’: Warren B. Kanders Responds to Whit …

    2018.12.25 · 发表评论

    In further news: Paris museums close after Gilets Jaunes protests; Candice Breitz demands release of aid worker – 进一步的消息:Gilets Jaunes抗议后巴黎博物馆关闭;Candice Breitz要求释放援助人员

  • Possibilities for a Non-Alienated Life: A Report from the …

    2018.12.25 · 发表评论

    ‘The internet is overrated, give us back telepathy!’ exclaims a work from Sorry for Real (2015) by video artist Tabita Rezaire. Five large light boxes stand one after the other at Aspinwall House, main venue of the Kochi-Muziris Biennale (KMB) 2018. In one, a smartphone is shot in to the scene by a lightning bolt (and a floating message bubble reads, ‘People will f*** u up, then claim to be ur saviour! LOL’). In another, a diamanté-encrusted fingernail hovers over the phone’s answer button, reluctant to pick up a call from the ‘Western World’ (‘No White Tears! Not Today!’). – 互联网被高估了,让我们回心转意!视频艺术家塔比塔·雷扎尔(Ta.Rezaire)的《对不起现实》(2015)中的一幅作品惊叹道。五个大灯箱一个接一个地矗立在高知木兹里斯双年展(KMB)2018年的主会场阿斯宾沃尔大厦。其中一部,智能手机被闪电击中到现场(一个浮动信息泡沫写道,‘人们会跳起来,然后宣称是你的救星!’LOL’)。在另一个例子中,一个镶有钻石的手指甲在电话的应答按钮上盘旋,不愿接听来自“西方世界”的电话(“没有白眼泪!今天不行!”。