标签为 “Interview” 的文章

  • 班克斯透露作品销毁计划有失误:排练时,每次都完全粉粹了

    2018.10.20 · 发表评论


  • Mourning and Melancholy in the History of Class Struggle i …

    2018.10.19 · 发表评论

    Vast sky overhead, plains stretching toward the horizon – O, pioneers! For centuries, in the US, a myth of the West has been a cudgel to beat onward a national (and nationalist) idea of prosperity and freedom, wrested in blood. It’s a fairy tale largely told through popular films, television programmes and novels. In these stories, cowboys and homesteaders embody a loner ideal of rugged individualism inextricably linked to a surging free market, striking gold for Christ in the Mormon State of Deseret. But, against this perception of a boundless US interior, the actual political history of the Plains offers up countless examples of the limits capitalism has placed on the region and its political imagination. Given that much of this history plays almost no part in our popular images of the West, we might turn to recent and newly restored art and, in particular, film and photography, for images that re-assert the primacy of the working class in this region. These works also resist the melancholy that has been pervasive in the leftist retelling of the rise and fall of the US labour movement. There are two histories of the region – a landscape conjoined in desert, plains, beaches and old-growth forest, stretching west of the Mississippi to the glinting Pacific and curtailed only by the artificial borders with Canada and Mexico. First, one of so-called manifest destiny; second, one of work. – 浩瀚的天际,平原向地平线延伸—-O,拓荒者!几个世纪以来,在美国,西方的神话一直是一根棍子,用来打败在鲜血中挣扎的民族(以及民族主义者)的繁荣和自由观念。这是一个童话故事,主要通过流行的电影、电视节目和小说来讲述。在这些故事中,牛仔和家园主们体现了一种孤独的理想,这种理想与激增的自由市场密不可分,在摩门教的笛斯特州为基督敲出金牌。但是,与这种认为美国内陆无边无际的观点相反,大平原的实际政治历史提供了无数的例子,说明资本主义对该地区及其政治想象力的限制。鉴于这段历史中的大部分几乎不在我们对西方流行的印象中扮演任何角色,我们可能会转向最近和新近恢复的艺术,尤其是电影和摄影,来寻找那些重申该地区工人阶级首要地位的图像。这些作品也抵御了美国劳工运动兴衰的左翼复述中弥漫的忧郁情绪。这个地区有两段历史——沙漠、平原、海滩和古老的森林交织在一起,从密西西比州西部一直延伸到闪烁的太平洋,只因与加拿大和墨西哥的人工边界而受到限制。首先,一个所谓的命运;第二,一个工作。

  • The Black Female Figure – 黑人女性形象

    2018.10.19 · 发表评论

    In 1864, the renowned abolitionist stronghold of Boston no doubt seemed the perfect place for Mary Edmonia Lewis to regroup after her trial in Oberlin, Ohio, and veritable expulsion from college. The community that boasted the first co-educational and racially inclusive school had failed to protect her from the prolific racism that permeated the US. Yet, the little we know of this eminent 19th-century sculptor demonstrates that Lewis was nothing if not resilient.  – 1864年,波士顿著名的废奴主义据点无疑是玛丽·爱德蒙娜·刘易斯在俄亥俄州奥伯林受审并被逐出大学后重新集结的理想地方。自诩为第一所男女同校、种族包容的学校的社区未能保护她免受遍及美国的多产种族主义的侵害。然而,我们对这位杰出的19世纪雕塑家所知甚少,说明Lewis是一个没有弹性的人。

  • Eye in the Sky: What a Surveillance Blimp in Amish Country …

    2018.10.19 · 发表评论

    On 28 October 2015, a US military surveillance blimp rampaged across rural Pennsylvania after breaking its tether above Maryland  – 2015年10月28日,一艘美国军用侦察飞艇在马里兰州上空打破束缚,横扫宾夕法尼亚州的农村地区。

  • The Best Shows in London During Frieze Week – 伦敦时 …

    2018.10.19 · 发表评论

    Richard Wilson 20:50, 1987, installation view. Courtesy: © the artist and Hayward Gallery; photograph: Mark Blower – 理查德·威尔森20∶50,1987,安装视图。礼貌:艺术家和海沃德画廊;照片:Mark Blower

  • Critic’s Guide to Berlin Art Week – 评论家柏林艺术周 …

    2018.10.18 · 发表评论

    Candice Breitz, TLDR, 2017, 13-channel video installation. Courtesy: Goodman Gallery, Johannesburg, Kaufmann Repetto, Milan, KOW, Berlin – Candice Breitz,TLDR,2017, 13通道视频安装。礼貌:Gooman画廊,约翰内斯堡,Kaufmann Repetto,米兰,KOW,柏林

  • A Guide to Brussels Gallery Weekend – 布鲁塞尔画廊周 …

    2018.10.18 · 发表评论

    Galerie Greta Meert
    7 September – 20 OctoberUnfurling across Galerie Greta Meert’s three floors, ‘Wiggle’ showcases the work of 15 international artists who use sculpture to interrogate the notion of materiality beyond simple denotation. Donald Judd uses stacks and blocks to create non-referential works of art while Terry Adkins assembles locally found objects such as musical instruments and reintroduces them as resounding installations. Katinka Bock experiments with natural materials, using clay ceramic liquid and webbing to articulate thoughts on history and geography and on the other end of the spectrum, Diane Simpson’s work transfigures clothing, furniture and industrial architecture into sculptures that are an observation of the architectonic vs. the domestic. Countering painter Ad Reinhardt’s modernist joke that a sculpture is a thing that you ‘bump into while you back up to look at a painting’, the group show pushes back against convention, giving the form more leeway than tradition has previously allowed. – “摇摆”

  • ‘Mandy’: An ’80s Revenge Horror Soaked in Colours Graded t …

    2018.10.18 · 发表评论

    If Mandy – the new film by Italian-Canadian director Panos Cosmatos, released in the UK this month – had been made in the 1960s, it might have been categorized as bikesploitation on account of The Black Skulls, a demonic motorbike gang who stalk the California mountain forests where the film is set. The chainsaw-wielding weirdos in those mountains could have dragged the movie squealing like a pig into hicksploitation redneck horror, and the LSD that everyone appears to be either micro- or macro-dosing throughout certainly would have tripped Mandy into psychsploitation, too. The Children of the New Dawn, a murderous hippie-Christian cult in cahoots with The Black Skulls, might have given the film a godsploitation label, but the heavy metal aesthetic that kerrangs throughout Mandy takes it into glorious rocksploitation. All this before we’ve even gotten to the core theme of loss and retribution that makes it a gory revenge movie, a splatter that matters. Did I mention that The Black Skulls also like human flesh? So, if Cosmatos made this film in the 1960s, he’d have made a cannibalpsychbikerockgodhicksplattersploitation flick. And that doesn’t even begin to cover it. – 如果《曼迪》这部由意大利裔加拿大导演帕诺斯·科斯马托斯本月在英国上映的新电影是在20世纪60年代拍摄的,那么它可能会被归类为《黑骷髅》,一个恶魔摩托车团伙,潜行在加利福尼亚的山林中,电影就是在那里拍摄的。S集。在那些山里那些挥舞着电锯的怪人会把电影像猪一样尖叫的拖进乡下人的恶作剧,而整个过程中每个人似乎都是微观或宏观剂量的LSD肯定也会把曼迪拖进心理探索的陷阱。《新黎明之子》,一个与《黑骷髅》合谋的凶残的嬉皮士和基督教的崇拜,也许给这部电影贴上了“神谕”的标签,但贯穿曼迪的重金属美学却把它带入了光荣的摇滚乐。所有这一切之前,我们甚至已经得到损失和报复的核心主题,使之成为血腥的复仇电影,飞溅的问题。我说过黑骷髅也喜欢人肉吗?所以,如果Cosmatos在20世纪60年代制作了这部电影,他就会制造出一个吃人鬼的电影。甚至还没有开始覆盖它。

  • Chris Kraus Looks Toward the Margins in New Book ’Social P …

    2018.10.18 · 发表评论

    I wish we didn’t have to read Chris Kraus, and this week I read her aloud to my students, quoting passages on Kate Newby, Henry Taylor and Channa Horwitz, all from her new book Social Practices (Semiotext(e) 2018). Kraus’s criticism is generous and warm. But, it is written from a world I wish we didn’t live in. – 我希望我们不必读克里斯·克劳斯,这周我向学生大声朗读了她,引用了凯特·纽比、亨利·泰勒和钱娜·霍维茨的新书《社会实践》(Semiotext(e)2018)中的段落。但是,它是从一个我希望我们没有生活的世界写成的。