标签为 “礼仪” 的文章
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Spells in the Present Tense – 现在时态的符咒
2018.11.08 · 发表评论On Halloween, the cavernous tunnels of the Deadhouse, a winding crypt-like space in the underground depths of Somerset House thronged with those gathered to celebrate the launch of Ignota Press. The rough brick walls illuminated purple, atmospheric music from DJs Lia Mouse and TTB, and an intoxicating heady aroma of incense filled the corridors. Founded by Sarah Shin and Ben Vickers, Ignota derives its name from the mystic Hildegard of Bingen’s lingua ignota (unknown language), with the aim of defining it as one ‘that makes possible the reimagining and re-enchantment of the world around us’ through books and events that traverse poetry, technology, and speculative mysticism. Their inaugural publication is the anthology: Spells: 21st-Century Occult Poetry, edited by Shin with Rebecca Tamás, which brings together 36 rising and established voices across 160 pages to explore themes of ‘justice, selfhood, and the transformative power of the occult.’ – 在万圣节前夕，这座死房子的洞穴隧道，是塞默塞特住宅地下深处的一个蜿蜒的地下室，与聚集在一起庆祝伊格诺塔出版社的人们聚集在一起。粗糙的砖墙照亮了来自DJS LIa鼠标和TTB的紫色、大气音乐，充满了令人陶醉的香气。IGNOTA由Sarah Shin和Ben Vickers创立，源于宾根语言IGNOTA（神秘语言）的神秘希尔德加德，其目的是通过遍历诗人的书籍和事件来定义一个“使我们周围世界重新想象和重新魅惑”的“语言”。RY、技术和推测神秘主义。他们的首期出版物是《拼写：21世纪的神秘诗歌》，由Shin和RebeccaTams编辑，该书汇集了36位在160页上崛起和确立的声音，探讨了“正义、自我和神秘的变革力量”的主题。
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US Galleries Mobilize in Support of Democrats Ahead of Tod …
2018.11.06 · 发表评论In further news: a long-lost tapestry owned by Henry VIII re-emerges; Kerry James Marshall’s Chicago Public Library mural withdrawn from auction – 另辟蹊径：亨利八世拥有的一幅失传已久的挂毯重现；克里·詹姆斯·马歇尔的芝加哥公共图书馆壁画退出拍卖
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With Shanghai’s Busiest Art Month Underway, Highlights of …
2018.11.06 · 发表评论‘Proregress’ 12th Shanghai Biennale
The Power Station of Art
10 November, 2018 – 10 March, 2019 – 第十二年度上海双年展 -
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。
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Why Are So Many Great Artworks Acquired by Museums Locked …
2018.11.02 · 发表评论In a darkened temperature-controlled room sit several seminal artworks the public has never seen. Hoards of could-be national treasures populate vast storage vaults. All of them out of view and consideration. What makes an artwork acquired by a museum worthy of wall space, while others are locked away? While efforts have been made behind the scenes to balance collections through acquiring more work by people of colour, this isn’t always reflected in what public eyes see. Hoisting up this much-needed discussion about what museums choose to collect and to show, ‘Speech Acts: Reflection-Imagination-Repetition’ at Manchester Art Gallery curated by Hammad Nasar with Kate Jesson, impels viewers to consider art history’s negative space and also the ways in which our encounters with art are inherently shaped by what is shown and what isn’t. – 在黑暗温度控制的房间里坐着一些公众从未见过的精巧艺术品。囤积的财宝可能是国家宝藏中的巨大储藏库。所有这些都是不可见的和考虑的。是什么使得艺术品被一个有墙空间的博物馆所获得，而另一些则被锁住了呢？虽然人们在幕后通过获取有色人种更多的作品来平衡收藏，但这并不总是反映在公众眼中。在哈马德·纳萨尔和凯特·杰森共同主持的曼彻斯特美术馆举办的“演讲行为：反思-想象-重复”展览会上，展开了关于博物馆选择收藏和展览的迫切需要的讨论，促使观众思考艺术史的消极空间以及我们如何看待艺术史。与艺术的相遇本质上是由所展示的和不存在的来塑造的。
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Ahead of US Midterms, Artists Diversify Norman Rockwell’s …
2018.11.01 · 发表评论Artist collective For Freedoms’s campaign draws attention to issues of diversity and civic responsibility in the election run-up – 艺术家集体为自由运动在选举中提请注意多样性和公民责任问题
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Across Australia, Artists are Disrupting the Colonial Mind …
2018.11.01 · 发表评论In the Australian art world, ‘decolonization’ has become a buzzword in academia, galleries and museums, yet our Aboriginal and Torres Strait Islander artists have been calling for decolonization and asserting sovereignty for decades. The process of decolonization requires ongoing work and our peoples have created generational legacies of storytelling about surviving colonization through art, theatre, literature and community activism. Sovereignty is central to the identity and well-being of Indigenous peoples in our fight for justice. The arts are an accessible and engaging way of discussing these complex issues in a country where white colonial and patriarchal narratives dominate public spaces. In recent years, a social-media revolution has been mobilized by Indigenous scholars, artists and activists who descend from a lineage of Aboriginal resistance through letter- and petition-writing. There is also an emerging Aboriginal podcast culture: Wild Black Women, for example – hosted by the academic Dr Chelsea Bond and the comedy writer Angelina Hurley – is a sharply funny and politically astute programme that takes racism, whiteness and the patriarchy to task. – 在澳大利亚艺术界，“非殖民化”已经成为学术界、美术馆和博物馆的一个时髦词，然而几十年来，我们的土著和托雷斯海峡岛民艺术家们一直呼吁非殖民化和维护主权。非殖民化进程需要不断努力，我们各国人民通过艺术、戏剧、文学和社区活动创造了一代又一代的传奇故事，讲述殖民地幸存下来的故事。主权是我们争取正义的原住民的身份和福祉的核心。在一个白人殖民主义和父权主义叙事占据公共空间的国家，艺术是讨论这些复杂问题的一种容易接近和吸引人的方式。近年来，土著学者、艺术家和活动家发动了一场社会媒体革命，他们通过写信和请愿书从土著反抗血统中脱颖而出。还有一个正在兴起的原住民播客文化：例如，由学术界切尔西·邦德博士和喜剧作家安吉丽娜·赫利主持的《野生黑人妇女》就是一个非常有趣和政治精明的节目，它以种族主义、白人和父权制为任务。
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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。
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德绍·包豪斯Bauhaus Dessau：清晰的阴影、清晰的线条和令人惊 …
2018.10.20 · 发表评论琳达·格兰特的小说《当我生活在现代》（2000年）以1940年代末的特拉维夫为背景，描述了残酷的沙漠气候对城市包豪斯建筑的影响。特拉维夫是一座由德绍进口的混凝土大都市，一个寒冷、灰色、雪白的德国地方。转移到地中海，这个地方无情地“通过它的薄白墙吸收热量”。由于包豪斯建筑没有提供遮荫或气流，酷热变得如此残酷，几乎成了一个支撑特征。
