标签为 “Japan” 的文章

  • The Best Art Exhibitions in Seoul – 汉城最佳艺术展

    2018.11.13 · 发表评论

    Choi Jeong Hwa, ‘Blooming Matrix’ MMCA SEOUL 5 September 2018 – 10 February 2019Choi Jeong Hwa is the fourth artist to be selected for the annual MMCA Hyundai Motor Series to show ambitious new works in the Korean capital. Filling MMCA’s cavernous galleries can be a tall order for most artists, but Choi is no stranger to filling vast spaces, usually employing great quantities of cheap, disposable items found on the streets and at local flea markets. – Choi Jeong Hwa,“开花矩阵”

  • 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。

  • Where Do We Go From Here: The Global Visual Economy – …

    2018.11.02 · 发表评论

    In the postcolonial study of Asia and the non-Western world, the act of comparison has usually meant using Euro-American standards to judge non-Euro-American cultures. In the academic realm of literary studies, this has translated into questions such as: does China have the epic? Does India or Japan have the novel? Does Korea have science fiction? These enquiries echo earlier European views that cultures in Asia and Africa have no history, philosophy, religion or literature to speak of. We are now at some distance from such ethnocentric views but the longterm effects of their comparative assertions remain influential. – 在亚洲和非西方世界的后殖民研究中,比较行为通常意味着使用欧美标准来评判非欧美文化。在文学研究的学术领域,这一问题转化为:中国有史诗吗?印度或日本有这部小说吗?韩国有科幻小说吗?这些调查反映了早期欧洲人的观点,即亚洲和非洲的文化没有历史、哲学、宗教或文学可言。我们现在与这种以种族为中心的观点相去甚远,但他们比较论断的长期影响仍然存在。

  • How the Tiger Became a Totem for Singaporean Artist Ho Tzu …

    2018.11.01 · 发表评论

    The origin tale of modern Singapore cultivates the image of a gleaming city rising from the wilderness – most recently rehashed in a certain hit film that makes a glib reference to the island being nothing but ‘jungle and pig farms’ before Chinese immigrants arrived, clearing the landscape and making themselves ‘crazy rich’ in the process. In this story, tigers are the antagonist, a feral threat it was impossible to eliminate completely: Singapore is an island, and tigers are excellent swimmers. As late as 1869, Alfred Russel Wallace wrote, in The Malay Archipelago, that ‘there are always a few tigers roaming about Singapore, and they kill, on average, a Chinaman every day’. – 现代新加坡的起源故事塑造了一个从荒野中崛起的闪闪发光的城市形象——最近在一部热门电影中重新演绎,这部电影巧妙地提到了在中国移民到来之前,这个岛除了“丛林和养猪场”之外别无他物。在这个过程中,让自己变得“疯狂富”。在这个故事中,老虎是敌人,一个无法完全消除的凶猛威胁:新加坡是一个岛屿,老虎是优秀的游泳运动员。早在1869年,阿尔弗雷德·拉塞尔·华莱士(Alfred Russel Wallace)在《马来群岛》(The Malay Archipelago)中就写道:“在新加坡到处游荡的老虎总是不多,平均每天会杀死一个中国人。”

  • One Take: Kemang Wa Lehulere’s Performance of Self-Excavat …

    2018.11.01 · 发表评论

    Kemang Wa Lehulere, not quite 35 years old, could easily be mistaken for an artist of another era: a multidisciplinary mystic of 1940s and ’50s Black Mountain College, like John Cage and Merce Cunningham, say, or an embodied and freewheeling spirit of Willoughby Sharp’s 1970s Avalanche Magazine circle. Indeed, the Capetonian Wa Lehulere was inspired in recent years by Japanese fluxus veteran Mieko Shiomi and shares with those predecessors a sense of levity and play. His work engages with bodies and their environments and he repurposes the detritus around him, resuscitating it as something wholly new. During his commission for Performa 17 in New York, I cut my skin to liberate the splinter (2017), Wa Lehulere moved lithely around a set, shoeless and clad in loose-fitting white garb – like a house painter – while conducting a beautiful cacophony from an array of rough-hewn instruments. During a biennial conceived around the theme of dada, his intervention perhaps most clearly channelled the spirit of his forebears at the Cabaret Voltaire, a whimsically anarchic response to a world riven by nationalism and violence. – 不到35岁的克曼·瓦·勒胡勒很容易被误认为是另一个时代的艺术家:比如,20世纪40年代和50年代的黑山学院,比如约翰·凯奇和梅斯·坎宁安,或者是威洛比·夏普1970年代《雪崩》杂志中体现的、随心所欲的精神。圆圈。事实上,开普敦的Wa Lehulere是近年来受到日本豪华车老手Mieko Shiomi的启发,并与前任分享一种轻浮和玩耍的感觉。他的工作与身体和环境有关,他重新利用他周围的碎屑,使之恢复活力,成为全新的东西。瓦·勒胡勒在纽约参加17场演出的委托期间,我割破了皮肤,解开了碎片(2017年),他穿着宽松的白色外套,一双无鞋,像个室内画家,一边在一排粗糙的器械上演奏着美妙的杂音。在围绕达达的主题构思的两年期中,他的干预或许最清楚地传达了他在伏尔泰内阁祖先的精神,一种异想天开的无政府反应,以应对被民族主义和暴力撕裂的世界。

  • Yayoi Kusama Considering Legal Action after a Number of Fa …

    2018.10.30 · 发表评论

    Shows featuring counterfeit work by the Japanese artist Kusama and her compatriot Takashi Murakami, have appeared in at least six Chinese cities – 日本艺术家草间弥生和她的同胞村上隆(Takashi Murakami)的假冒作品在中国至少6个城市上映。

  • The Best of London's September Exhibitions – 伦 …

    2018.10.21 · 发表评论

    As the summer comes to a close, we shuffle back indoors to replenish in the soothing shadows; switch on the neon lights and/or projectors, print out press releases, and settle in for a new season of shows. – 夏天快要结束了,我们拖着脚步回到室内,在柔和的阴影中补充能量;打开霓虹灯和/或投影仪,打印新闻稿,安顿下来迎接新一季的节目。

  • 因“琥珀色眼睛的兔子”闻名于世的埃蒙德的家族藏品回到维也纳

    2018.10.20 · 发表评论

    从纳粹掠夺中幸存下来的象牙和漆器日本象牙微雕藏品的集合将被借给犹太人博物馆展出。

  • ‘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。