标签为 “Josef Albers” 的文章

  • Your Guide to the Best Shows at London Gallery-Share Condo …

    2019.01.10 · 发表评论

    This coming weekend marks the opening of the fourth iteration of Condo, an annual gallery-sharing initiative that brings together galleries from around the world – predominantly from across the USA and Germany, as well as others from Egypt, South Africa, Chile and China. Started here in London in 2016 by Vanessa Carlos, owner of Carlos/Ishikawa, it’s a month-long ‘collaborative exhibition’, which has since spawned Condos in New York, Mexico City, Shanghai, and smaller versions last year in Athens and Sao Paulo. Other gallery cooperation models had existed before, like Amsterdam gallerist Jeanine Hofland’s one-day mini fair, A Petite Fair, or the ‘Villa’ project initiated by Raster Gallery in Warsaw in 2006. However, Condo has proved a timely spark at a time of smaller- and mid-size gallery closures and blue-chip consolidation, inspiring other similar style projects such as Okey Dokey in Dusseldorf and Cologne, Friend of a Friend in Warsaw, and Gallery Share Los Angeles. As the idea expands, Condo London has accordingly grown each year, with this year’s edition featuring 52 galleries over 18 spaces across London. There’s a lot of ground to cover, so here’s a quick guide to some of the highlights: – 即将到来的这个周末标志着第四代公寓的开幕,这是一个年度画廊分享计划,汇集了来自世界各地的画廊——主要来自美国和德国,以及来自埃及、南非、智利和中国的其他画廊。由Carlos/Ishikawa的所有者Vanessa Carlos于2016年在伦敦开始,这是一个为期一个月的“合作展览”,自那以后,它在纽约、墨西哥城、上海以及去年在雅典和圣保罗催生了一些小型公寓。其他画廊合作模式以前也存在过,如阿姆斯特丹画廊珍妮霍夫兰的一天迷你展、小型展览会或2006年华沙光栅画廊发起的“别墅”项目。然而,事实证明,在中小型画廊关闭和蓝筹股整合的时代,公寓是一个及时的火花,激励了其他类似风格的项目,如杜塞尔多夫和科隆的奥基·多基,华沙一个朋友的朋友的朋友,以及洛杉矶的画廊共享。随着这个想法的扩展,伦敦公寓每年都有相应的增长,今年的版本在伦敦有52个画廊,超过18个空间。这里有很多要介绍的地方,下面是一些要点的快速指南:

  • Everything and Everywhere is a School: What Can We Learn f …

    2018.10.25 · 发表评论

    ‘observing eyes, flexible minds and skilled hands’Josef Albers, Search Versus Re-Search (1969)Since its inception, in 2012, the Istanbul Design Biennial has carved a space for thought-provoking and critical curatorial positions unlike any other event in the global design calendar. Titled ‘A School of Schools’ and curated by Jan Boelen with Nadine Botha and Vera Sacchetti, its fourth edition looks to education and learning paradigms that, as the curators write in their introductory essay, look ‘beyond design as solution and school as institution’. The curatorial premise builds upon a century-long history of pedagogical critique and cultural radicalism – from the 1919 Bauhaus Manifesto, to Black Mountain College, to the ‘hippie modernism’ of the Whole Earth Catalog and the Italian Global Tools initiative, among many others. While inspired by such precedents, the biennial seeks to interrogate their legacy, as well as to reflect on the inadequateness of extant educational models vis-à-vis the uneven socio-economic conditions of the global present. Searching for alternative propositions to rescue design education from the functional pragmatism of industrialized creativity, ‘A School of Schools’ asks: ‘What if the school we need now is a personal attitude of questioning and figuring out?’ – “观察的眼睛,灵活的头脑和熟练的手”约瑟夫·阿尔伯斯,搜索与重新搜索(1969)伊斯坦布尔设计双年展自2012年成立以来,已为发人深省和关键的策展位置开辟了一个空间,不同于全球设计日历上的任何其他活动。它的第四版名为“学校学校”,由简·波伦与纳丁·博塔和维拉·萨切蒂共同策划,它着眼于教育和学习范式,正如馆长在介绍性论文中写道,这些范式超越了设计作为解决方案,学校作为机构。策展的前提是建立在从1919包豪斯宣言教育批判文化激进主义–长达一个世纪的历史,在黑山学院,对整个地球的目录”和“嬉皮士现代意大利全球工具主动,等等。而受这样的先例,两年一次的试图询问他们的遗产,以及反映不够现存的教育模式对à可见的全球存在不均匀的社会经济条件。寻找替代主张救援设计教育从工业化创新功能的实用主义,“学校学校问:“如果我们需要学校现在是一个人的质疑和发现的态度?’

  • Picture Piece: Secret Symbol – 图片:秘密符号

    2018.08.05 · 发表评论

    Josef Albers's secret symbol for the Manuscript society at Yale UniversitySecrecy is power. But too much secrecy can be as counterproductive as too little. If people don’t know a secret exists, they can’t covet it – or fear it. Hence the accord struck by Yale University’s senior societies, such as Skull and Bones or Wolf’s Head: sub-masonic groups whose rules and rituals are kept clandestine but whose windowless gothic revival and neo-classical clubhouses – or ‘tombs’– are hidden in plain sight on the streets of New Haven. – 约瑟夫·亚伯斯和39是耶鲁大学手稿学会的秘密象征,是权力。但是太多的保密可能会适得其反。如果人们不知道一个秘密存在,他们就不能觊觎它——或者害怕它。因此,耶鲁大学的高级社团,如骷髅会或保鲁夫的头颅,达成了一致:亚共济会团体,其规则和仪式保持秘密,但其无窗哥特式复兴和新古典会所或“坟墓”隐藏在街道上。纽黑文的