标签为 “Class” 的文章

  • The Artificial Divide Between Fine Art and Textiles is a G …

    NEW! 2018.11.14 · 发表评论

    An imposing wooden structure bisected with lines of thread greets visitors head-on at the entrance of the current Anni Albers show at the Tate Modern. The contraption – a shaft countermarch loom – is echoed at the end of the exhibition, with a Structo Artcraft loom that was used by Albers herself. As the UK’s first major retrospective of Alber’s work, the galleries are filled with over 350 objects, ranging from her geometric wall hangings to textiles for interiors and architecture, her writing, and prints and drawings. Bookending the exhibition with the tools of her trade ensures the method of creation is kept at the very heart of the show: this is unapologetically about a textile artist.  – 在泰特现代美术馆举办的当前安妮·阿尔伯斯展览的入口处,一座雄伟的木结构被线条分割成两半,迎面迎接来访者。这个装置——轴式逆行织机——在展览结束时与阿尔伯斯自己使用的结构艺术织机相呼应。作为英国对艾伯作品的第一次主要回顾,画廊里摆满了350多件物品,从她的几何壁挂到室内和建筑用纺织品、她的写作、印刷品和绘画。用她所从事的行业的工具预订展览会确保了创作方法始终是展览的核心:这毫无疑问是关于一个纺织艺术家的。

  • Time Interrupted at Toulouse’s Contemporary Art Biennial & …

    2018.11.12 · 发表评论

    Springtime in September – the defining concept of the Toulouse contemporary art biennial – seems, right now, like an immensely pleasing prospect. At the blustery conclusion of a summer that has been, depending on your predicament or point of view, either a blissful heatwave haze or an unsettling foretaste of the apocalyptic climate to come, there might be few things more attractive than the impossible dream of turning back time, putting the weather in rewind, hitting refresh on spring. Such, it might seem, is the fanciful aspiration of ‘Le Printemps de Septembre’. Under the directorship of veteran curator Christian Bernard, this richly varied biennial once again invites us to share in an autumn-replacing printemps: an abundant flowering of art across a city and its environs – an offer that has, on the face of it, an upbeat, benevolent civic generosity. Art, we might presume, is like spring: with it comes revival, new life, more light. – 九月的春天——图卢兹当代艺术双年展的定义性概念——看起来,现在,像是一个非常令人愉快的前景。根据你的困境或观点,在即将到来的夏天即将到来的狂风暴雨的结束之时,不管是喜庆的热浪阴霾,还是令人不安的末日气候的预感,没有什么事情比倒退时间的不可能的梦想更有吸引力了。天气倒退,在春天打刷新。这样看来,这可能是“九月”的幻想。在资深馆长克里斯蒂安·伯纳德的指导下,这个丰富多彩的两年一度的展览会再次邀请我们分享一个秋天取代的王子们:一个城市及其周边地区艺术的盛开——表面上,这个提议是一个乐观、仁慈的公民慷慨。我们可以想象,艺术就像春天:伴随着复兴,新的生命,更多的光。

  • 摄影师在日益自动化的图像文化中扮演什么角色?

    2018.11.08 · 发表评论

    Who are photographs for? Who are photographs by? Increasingly, the answer to both questions is, more or less, machine: images are captured by autonomous, or semi-autonomous devices in the act of gathering data for artificial intelligences. – 照片是给谁的?照片是谁的?这两个问题的答案或多或少地越来越多地是机器:图像是由自主或半自主设备在为人工智能收集数据时捕获的。

  • Frederick Wiseman's ‘Beating Heart’ of Rural American …

    2018.11.07 · 发表评论

    Frederick Wiseman’s new documentary, Monrovia, Indiana (2018) opens with a series of bucolic shots of rural Americana before moving inside to a meeting of a small church group. ‘Remember,’ a middle-aged man wearing a cross tells those gathered, ‘when He started this whole thing, everything was perfect. We messed it up. We brought the tribulations.’ – 弗雷德里克·怀斯曼的新纪录片《印第安纳州蒙罗维亚》(2018)以美国乡村的一系列田园风光开场,然后进入一个小型教会团体的会议。“记住,”一个背着十字架的中年人告诉那些聚集在一起的人,“当他开始这一切时,一切都很完美。”我们把事情搞糟了。我们带来了苦难。

  • Could UNESCO World Heritage Status Help Refugee Camps?  …

    2018.11.06 · 发表评论

    Today’s world heritage practices have come a long way since their heady days of Orientalist fetishization and imperialistic supremacy, becoming more sensitive to both material and immaterial cultures as well as differences in societal structures. Still, there remains much contestation with regards to what constitutes world heritage and the benefits that can come from such designations. As the procedures for selection evolve and struggle to place local practices into universal frameworks, proponents of conservation will also have to come to terms with how heritage can have negative impacts on communities. UNESCO sites such as Erbil, Hampi and Wutaishan, for example, have all experienced mass displacement as a result of government-led campaigns to convert ancient settlements into tourist destinations. – 从东方主义拜物教和帝国主义至上的时代开始,今天的世界遗产实践已经走过了漫长的道路,对物质和非物质文化以及社会结构的差异更加敏感。尽管如此,关于世界遗产的构成和来自这些命名的好处,仍然存在很多争议。随着选择程序的发展和努力将地方实践纳入到普遍的框架中,保护的拥护者也将不得不考虑遗产如何对社区产生负面影响。例如,联合国教科文组织(UNESCO)的埃尔比勒(Erbil)、汉皮(Hampi)和五台山(Wutai.)等遗址都经历了大规模的流离失所,这是政府领导的、将古代聚落转变为旅游目的地的运动的结果。

  • Can UNESCO World Heritage Status Help Refugee Camps? ̵ …

    2018.11.06 · 发表评论

    Today’s world heritage practices have come a long way since their heady days of Orientalist fetishization and imperialistic supremacy, becoming more sensitive to both material and immaterial cultures as well as differences in societal structures. Still, there remains much contestation with regards to what constitutes world heritage and the benefits that can come from such designations. As the procedures for selection evolve and struggle to place local practices into universal frameworks, proponents of conservation will also have to come to terms with how heritage can have negative impacts on communities. UNESCO sites such as Erbil, Hampi and Wutaishan, for example, have all experienced mass displacement as a result of government-led campaigns to convert ancient settlements into tourist destinations. – 从东方主义拜物教和帝国主义至上的时代开始,今天的世界遗产实践已经走过了漫长的道路,对物质和非物质文化以及社会结构的差异更加敏感。尽管如此,关于世界遗产的构成和来自这些命名的好处,仍然存在很多争议。随着选择程序的发展和努力将地方实践纳入到普遍的框架中,保护的拥护者也将不得不考虑遗产如何对社区产生负面影响。例如,联合国教科文组织(UNESCO)的埃尔比勒(Erbil)、汉皮(Hampi)和五台山(Wutai.)等遗址都经历了大规模的流离失所,这是政府领导的、将古代聚落转变为旅游目的地的运动的结果。

  • Can UNESCO World Heritage Recognition Help Refugee Camps? …

    2018.11.06 · 发表评论

    Today’s world heritage practices have come a long way since their heady days of Orientalist fetishization and imperialistic supremacy, becoming more sensitive to both material and immaterial cultures as well as differences in societal structures. Still, there remains much contestation with regards to what constitutes world heritage and the benefits that can come from such designations. As the procedures for selection evolve and struggle to place local practices into universal frameworks, proponents of conservation will also have to come to terms with how heritage can have negative impacts on communities. UNESCO sites such as Erbil, Hampi and Wutaishan, for example, have all experienced mass displacement as a result of government-led campaigns to convert ancient settlements into tourist destinations. – 从东方主义拜物教和帝国主义至上的时代开始,今天的世界遗产实践已经走过了漫长的道路,对物质和非物质文化以及社会结构的差异更加敏感。尽管如此,关于世界遗产的构成和来自这些命名的好处,仍然存在很多争议。随着选择程序的发展和努力将地方实践纳入到普遍的框架中,保护的拥护者也将不得不考虑遗产如何对社区产生负面影响。例如,联合国教科文组织(UNESCO)的埃尔比勒(Erbil)、汉皮(Hampi)和五台山(Wutai.)等遗址都经历了大规模的流离失所,这是政府领导的、将古代聚落转变为旅游目的地的运动的结果。

  • Decolonial Documents: Part Three – 非殖民化文件:第 …

    2018.11.05 · 发表评论

    In the third of a series, timed with the specially-themed November-December issue of frieze, we asked five artists, curators and writers, whose work has been involved with the challenges of decolonizing culture, 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. – 在系列文章的第三期,以特别主题的11月至12月的弗里兹杂志为时间点,我们邀请了五位艺术家、策展人和作家,他们的作品涉及非殖民文化的挑战,来讨论从展览和公共场所了解他们思想的项目。更多的无形和瞬态网络,其效果往往比记录的感觉,虽然不那么重要。

  • What, Exactly, Is a ‘Giallo’ Film? – 确切地说,什么 …

    2018.11.05 · 发表评论

    With Italian director Luca Guadagnino’s new film Suspiria, based on Dario Argento’s 1977 film of the same name, and last month’s Argento retrospective at Metrograph in New York, ‘giallo’ – Italy’s popular name for thrillers – would seem to be the genre della giornata. Yet with its supernatural core and hyperbolic stylization, Argento’s Suspiria barely qualifies as giallo at all. As for Guadagnino’s version – pointedly not a remake – it bears as much relation to the genre as the recent faux perfume-ad gialli tributes of director duo Bruno Forzani and Hélène Cattet. – 随着意大利导演卢卡·瓜达尼诺根据达里奥·阿金托1977年的同名电影改编的新片《猜疑》,以及上个月在纽约地铁的阿金托回顾展,“Gillo”——意大利惊悚片的流行名称——似乎是“della giornata”类型。然而,凭借其超自然的核心和双曲线程式化,Argento的怀疑几乎没有资格作为杰拉洛。至于瓜达尼诺的版本——显然不是翻拍——与最近导演布鲁诺·福尔扎尼和赫尔琳·卡特特的人造香水广告嘉莉致敬一样与该类型有着密切的关系。