标签为 “法国” 的文章

  • ‘MÉMOIRE DE L’OUBLI’ – ‘M_mo …

    2019.01.28 · ‘MÉMOIRE DE L’OUBLI’ – ‘M_moire de l’oubli’已关闭评论

    Réfléchir la Mémoire / Reflecting Memory, 2016, video HD, 48’The Francès foundation is pleased to welcome KADER ATTIA with the exhibition Mémoire de l’Oubli. Foundation’s spaces, located in Senlis, (oise), are entrusted to the artist in the form of a carte blanche to bring a new reflection to this place. The artist first joined the Francès collection 10 years ago with the acquisition in 2009 of the work Alpha Beta, from that moment other acquisitions followed. For this exhibition Kader Attia addresses the themes of memory, erasure and repair. He cleans from the archives of history, from personal stories. He reveals the traumas and then valorizes and repairs them. He deals with loss of identity and uprooting. The notions of knowledge and culture appear as answers, acts of resistance. The exhibition presents Alpha Beta, an arabic alphabet, Syrian Shells (2015), the video presented for the Marcel Duchamp Prize, Réfléchir la Mémoire, and a new site specific installation: Mémoire de l’oubli.  Born in 1970 in France, Kader Attia lives and works in Paris and Berlin. In 2016 he founded a space in Paris, La Colonie, dedicated to the sharing of ideas and debates, around a wide cultural program.  – Refl Chl La MayeMuray/反射记忆,2016,视频HD,48’弗朗西斯基金会很高兴地欢迎KADER Atina与展览Me MueRe de Lououi。基金会的空间,位于桑利斯,(OISE),委托给艺术家以一种点菜布兰奇的形式,给这个地方带来新的反映。10年前,这位艺术家第一次加入了法郎的收藏,并于2009年收购了阿尔法贝塔(Alpha Beta),从那一刻起,其他作品也随之被收购。在这次展览中,卡德·阿提亚谈到了记忆、擦除和修复的主题。他从历史档案中,从个人故事中清除。他揭露了这些创伤,然后对其进行了评估和修复。他处理身份丧失和被连根拔起的问题。知识和文化的概念似乎是答案,抵抗行为。展览展示了阿尔法贝塔(alpha beta)、阿拉伯字母表、叙利亚贝壳(2015)、为马塞尔杜尚奖(marcel duchamp prize)、R_fl_chir l a m_莫尔(r_fl_chir l a m_莫尔)颁奖的视频,以及一个新的现场特定装置:M_莫尔de l’oubli。Kader Attia出生于1970年的法国,在巴黎和柏林生活和工作。2016年,他在巴黎La Colonie建立了一个空间,致力于围绕一个广泛的文化项目分享思想和辩论。

  • 烟囱——"我有点不想回北京了" (个展)

    2019.01.20 · 烟囱——"我有点不想回北京了" (个展)已关闭评论


  • Scientists Discover the Secret to Rembrandt’s Paint Recipe …

    2019.01.17 · Scientists Discover the Secret to Rembrandt’s Paint Recipe – 科学家们发现了伦勃朗颜料配方的秘密已关闭评论

    New research has revealed the ingredient responsible for the richness of the Old Master’s paintings – 新的研究揭示了老主人绘画丰富的原因。

  • 何岸——胎记 (个展)

    2019.01.09 · 何岸——胎记 (个展)已关闭评论

    HdM 画廊非常荣幸地宣布将在伦敦空间举办艺术家何岸个展《胎记》,此次是何岸时隔四年后再次在欧洲举办个展。同时作为与 HdM 画廊的二度深入合作,展览将呈现何岸多种媒介的绘画及装置作品。展览将于 2019 年 1 月 10 开幕,持续至 2019 年 2 月 4日。

  • Can Artists’ Relationships with Nature Kindle Humility and …

    2019.01.04 · Can Artists’ Relationships with Nature Kindle Humility and Respect for our Environment? – 艺术家与自然的关系能点燃我们对环境的谦逊和尊重吗?已关闭评论

    Quaking before the unfathomable majesty of thunderstorms, mountains and the boundless ocean, Immanuel Kant described how the formidable experience of the destructive and terrifying power of the sublime natural world exposes our ‘physical helplessness as beings of nature’. Yet, man emerges triumphant in the final moment of sublime transcendence; nature is ‘small’ and inferior compared with the ‘infinity’ of reason and the human mind. In The Ideology of the Aesthetic (1990), the Marxist critic Terry Eagleton described the sublime as a ‘phallic swelling arising from our confrontation of danger […] in the pleasurable knowledge that we cannot actually be harmed’. In our contemporary world, humankind has pushed global ecologies to the brink of collapse, provoking environmental catastrophes of our own making. This immense natural power no longer inspires poetic gratification; today, the danger is all too real. – 伊曼纽尔·康德在深不可测的雷暴、高山和无边海洋的威严面前颤抖着,他描述了崇高自然世界的毁灭性和可怕力量的可怕经历如何暴露出我们作为自然存在的“身体上的无助”。然而,在崇高超越的最后时刻,人类获得了胜利;与理性和人类心灵的“无限”相比,自然是“小”和“低等”的。在《美学思想》(1990年)中,马克思主义批评家特里·伊格尔顿将这种崇高描述为“我们在愉悦的知识中面对危险时产生的阳具膨胀,我们实际上不能受到伤害”。在当今世界,人类已经把全球生态推向崩溃的边缘,引发了我们自己造成的环境灾难。这种巨大的自然力量不再能激发诗意的满足感;今天,危险是非常真实的。

  • 申玲个展——浮游 (个展)

    2019.01.01 · 申玲个展——浮游 (个展)已关闭评论


  • 亚非拉的雨水——陈彧君个展 (个展)

    2018.12.31 · 亚非拉的雨水——陈彧君个展 (个展)已关闭评论

    仁庐(Rén Space)欣然宣布新年首展《亚非拉的雨水——陈彧君个展》即将于2019年1月11日正式开幕。

  • Slanted and Enchanted: Oriane Durand on the Year in Shaman …

    2018.12.27 · Slanted and Enchanted: Oriane Durand on the Year in Shamanism and Superstition – 倾斜和迷惑:奥利安·杜兰德在萨满教和迷信年度已关闭评论

    ​In 2018, I found myself drawn to shows dealing with magic and shamanism, and so I look back at the year with a sense of enchantment. Tender entanglements of dystopian visions and individual mytholo-gies are part of a recent artistic trend characterized by hybridity, transformation and a belief in material. – 在2018年,我发现自己被处理魔法和萨满教的节目所吸引,所以我带着一种迷人的感觉回顾这一年。反乌托邦的幻象和个人神话的温柔纠缠是最近艺术趋势的一部分,其特点是杂合、转化和对物质的信仰。

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

    2018.12.25 · ‘A Chance to Bring Global Communities Together‘ – “让全球社区走到一起的机会”已关闭评论

    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。