标签为 “Google” 的文章

  • 米兰当代艺术研究所正式揭幕

    2019.02.03 · 发表评论

    米兰当代艺术研究所(ICA Milano),一个致力于艺术、当代文化、研究和实验的非盈利空间,在米兰正式揭幕。ICA Milano位于维亚奥罗比亚的前工业区,由阿尔贝托·萨尔瓦多里和路易吉·法西共同策划的“历史学家的手艺”展览“Adoia della Storia”为该计划揭幕。

  • The Expectation of Spectacle: an Interview with Mike Nelso …

    2019.01.16 · 发表评论

    We interviewed the British artist Mike Nelson on the occasion of his monumental intervention at the OGR in Turin; a large wooden structure, leads into the space, resembling a large billboard or the screen of a drive-in, once beyond it visitors find themselves inside a dimly lit environment where, amid pressed rubble, there are about twenty parked cars, covered with dust and in complete abandon. Different epochs and genres collide within the installation: a recent past rubs against an almost archaeological dimension (or perhaps a near future?), the rubble on the floor reeks of precariousness, an ambiguity between a recent demolition, an in-progress apocalypse whilst hinting to the potential of reconstruction, together creating an overwhelming tone of expectation and suspense. – 我们采访了英国艺术家迈克·尼尔森,当时他在都灵的“食人魔”进行了一次具有纪念意义的干预活动。这是一个巨大的木结构,通向太空,就像一个巨大的广告牌或一个开车进去的屏幕,一旦超过它,游客就会发现自己置身于一个光线暗淡的环境中,在被压的碎石中,大约有20辆车停在那里。汽车,被灰尘覆盖,完全废弃。不同的时代和体裁在装置内发生了碰撞:最近的过去与几乎考古的层面(或者可能是不久的将来)发生了摩擦。地板上的碎石散发出不稳定的气息,在最近的一次拆迁中模糊了,在暗示重建潜力的同时,正在进行的天启,共同创造了一种压倒一切的期待和悬念。

  • Google Doodle Pays Tribute to Painter and Princess Fahreln …

    2019.01.07 · 发表评论

    The Turkish artist’s brilliant, abstract canvases were the subject of a major Tate Modern retrospective in 2017 – 2017年,土耳其艺术家的精美抽象油画成为泰特美术馆重大现代回顾展的主题。

  • ‘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

  • 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。

  • 独自一人:互联网的超链接结构如何塑造我们的情感生活

    2018.10.19 · 发表评论

    “互联网也不是一个坏主意,但它确实具有毒性作用”“Facebook的工作”她指出,“不仅仅是给你信息,而是让你保持在那儿,处于一种积极的瘫痪状态。”

  • The Overlooked Radicalism of Impressionist Mary Cassatt &# …

    2018.10.19 · 发表评论

    In 2015, London’s National Gallery mounted the exhibition ‘Inventing Impressionism: The Man Who Sold a Thousand Monets’. I was deeply irritated by it. It is half a century since women art historians challenged the myth of a women-free art history and made visible both the women and the men who co-created not only Impressionism but modern art as a whole. Yet, the National Gallery was pedalling the tired and discredited tale of a heroic ‘band of brothers’ in modern art: a phrasing that was actually used for the publicity of the BBC series in 2006 called ‘The Impressionists’ when an elderly Claude Monet (Julian Glover) reminisced over the lives and loves of his pals Edgar Degas, Camille Pissarro and Pierre-Auguste Renoir.  – 2015,伦敦国家美术馆举办了“印象派”的展览:卖了一千个莫奈的人。我被它深深地激怒了。半个世纪以来,女性艺术史家对女性自由艺术史的神话发起了挑战,使女性和男性不仅共同创造了印象主义,而且共同创造了整个现代艺术。然而,国家美术馆却在抨击现代艺术中一支英雄的“兄弟乐队”的疲惫不堪、名誉扫地的故事:2006年,当年老的克劳德·莫奈(朱利安·格洛弗)回忆起这支名为“印象派”的英国广播公司系列节目时,这个短语实际上被用来宣传。他的朋友埃德嘉·德嘉、卡米耶·毕沙罗和Pierre Auguste Renoir的爱和爱。

  • 有没有AI艺术家?

    2018.06.17 · 发表评论

    If artificial intelligence were ever to achieve sentience, could it feasibly produce art? (And would it be good?) – 如果人工智能曾经达到感知能力,它是否能够产生艺术?(这样会好吗?)

  • 长物志 No.2: 卢征远

    2013.05.11 · 发表评论

    时 间: 2013.05.11 – 06.11