标签为 “London” 的文章

  • How a Vexed Therapy Session in Yvonne Rainer’s ‘Journeys f …

    2019.01.17 · 发表评论

    Annette Michelson, the art and film critic who died last year, sits in a boat. She is wearing glasses with large, plastic eyes loaded on springs. She is not at sea, but is in the midst of analysis, and her analyst has suddenly transformed from an adult man into a young, toe-headed boy whose face we never see. The child is confused by her. Michelson, with her blond, square head just visible above the lip of the boat’s edge, eyes him suspiciously as he answers the phone and an incongruous male voice whispers: ‘I never faced the music, much less the dawn; I stayed in bed. I never socked anything to anybody; why rock the boat? I never set out to get my man, even in the mirror; they all got me. I never smiled through my tears; I choked down my terror.’ The boy slams down the phone and transforms into a woman therapist. Michelson’s slinky eyes burst out. – 去年去世的艺术和电影评论家安妮特·迈克尔逊坐在船上。她戴着一副眼镜,一双塑料大眼睛盯着弹簧。她不是在海上,而是在分析过程中,她的分析师突然从一个成年男子变成了一个年轻的,脚趾尖的男孩,他的脸我们从未见过。孩子被她弄糊涂了。米歇尔逊,金发,方头,就在船的边缘上,可以看到,他接电话时怀疑地看着他,一个不协调的男性声音低声说:“我从来没有面对过音乐,更不用说黎明了,我躺在床上。我从不向任何人扔东西,为什么要摇晃船?我从来没有打算去抓我的男人,即使是在镜子里;他们都抓住了我。我从未因泪水而微笑,我抑制住了恐惧。“男孩砰的一声放下电话,转变成了一名女性治疗师。迈克尔逊细长的眼睛突然出现了。

  • Mystic Drawings and Designing for Extinction: 2019 Highlig …

    2019.01.17 · 发表评论

    The thoughts of design critic Alice Rawsthorn, author of Design as an Attitude (2018), curator Helen Nisbet, artistic director of Art Night, and Martin Clark, director of Camden Arts Centre, London. – 设计评论家Alice Rawsthorn,《作为一种态度的设计》(2018年),艺术之夜馆长Helen Nisbet,伦敦卡姆登艺术中心主任Martin Clark。

  • How the Instagram Egg Broke the Internet and Became a Stud …

    2019.01.16 · 发表评论

    A few months ago, a friend went on a technology-free retreat in rural Sweden. Run by an organization called Home, it was billed as a five-day course in ‘making sense of the mess the world is in’. The screen-free aspect of the programme was intended to bring people together and, in freeing them from distractions, stimulate a discussion about the ‘broken culture’ that we live in. Needless to say, it did not end well for this friend. – 几个月前,一位朋友在瑞典农村进行了一次无需技术的静修。它由一个名为“家”的组织管理,被称为“了解世界的混乱状况”的五天课程。该节目的无屏幕部分旨在将人们聚集在一起,并在将他们从分心中解放出来的同时,激发人们对我们所生活的“破碎文化”的讨论。不用说,这个朋友的结局并不好。

  • 2019 Condo London 第4届伦敦共享画廊展

    2019.01.16 · 发表评论

    第4届伦敦共享画廊展的活动在整个伦敦的多个画廊举行,来自圣保罗、纽约、洛杉矶、柏林、墨西哥城和里斯本的52个国际画廊落地伦敦的18个艺术空间。

  • As UK Parliament Prepares to Vote, this Artist is on a Mis …

    2019.01.15 · 发表评论

    On 9 January 2019, Leave Means Leave – a cross-party pro-Brexit pressure group with close ties to Leave.EU and Nigel Farage – sent a letter to the Charity Commission for England and Wales accusing The Photographers’ Gallery in London of ‘possibly criminal’ use of taxpayers’s money to fund ‘anti-Brexit propaganda’, and demanding that the gallery’s charitable status be withdrawn. Anticipating protest, The Photographers’ Gallery sought legal advice from the Arts Council long before artist Jonas Lund’s propaganda office Operation Earnest Voice (2019) was unveiled. In the Charity Commission guidelines, political activity is considered legitimate on the condition that it supports the delivery of an institution’s charitable purposes. The gallery affirms that Lund’s work fulfils their charitable objective to exhibit new media and technology that responds to the evolving nature of photography in the 21st century – in this case, the targeted dissemination of advertisements that played a pivotal role in the result of the EU referendum. – 2019年1月9日,休假意味着休假——一个与休假关系密切的跨党派支持脱欧的压力集团。欧盟和奈杰尔·法拉奇(Nigel Farage)向英格兰和威尔士慈善委员会(Charity Commission for England Wales)发出了一封信,指控伦敦的摄影师画廊“可能是犯罪的”利用纳税人的钱资助“反脱欧宣传”,并要求泰国政府批准该计划。画廊的慈善地位将被取消。在艺术家Jonas Lund的宣传办公室Operation Earnest Voice(2019)揭幕之前,摄影师的画廊期待着抗议,就向艺术委员会寻求法律建议。在慈善委员会的指导方针中,政治活动被认为是合法的,前提是它支持一个机构的慈善目的的实现。画廊确认,Lund的作品实现了他们的慈善目标,展示新媒体和新技术,以响应21世纪摄影的发展本质——在这种情况下,有针对性地传播广告,这在欧盟公投的结果中起到了关键作用。

  • Blow it to Smithereens? The Fate of Berthold Lubetkin’s Mo …

    2019.01.11 · 发表评论

    ‘Perhaps it’s time to blow it to smithereens’ – with this comment Sasha Lubetkin, the daughter of modernist architect Berthold, has reignited the debate over what to do with the Penguin Pool at London Zoo, which has sat abandoned for more than a decade after its little waddling inhabitants were removed. The fate of this tiny Grade I listed structure, frivolous and avant garde in equal measure, is a microcosm of the legacy of modernist architecture in the UK, which for some reason is still capable of stirring up culture war angst almost a century later. – “也许是时候把它炸成碎片了”——现代主义建筑师伯托德的女儿萨沙·鲁贝特金(Sasha Lubetkin)发表了这一评论,重新引发了关于如何处理伦敦动物园企鹅池的争论。在伦敦动物园的企鹅池被移走后,企鹅池被遗弃了十多年。这座小小的一级建筑的命运,同样是轻浮前卫的,是英国现代主义建筑遗产的缩影,出于某种原因,它在近一个世纪后仍然能够激起文化战争的焦虑。

  • 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:

  • Architects: Unsuitable Cases for Stardom? – 建筑师: …

    2019.01.09 · 发表评论

    By the time Philip Johnson died in 2005, aged 98, his architectural influence and patronage had stretched from (modernist) post to (postmodern) pillar and beyond. Frank Gehry delivered his funeral address. Mark Lamster’s nimble new biography,The Man in the Glass House (2018; Little, Brown), tells two parallel stories: one a Gatsby-like parable of wealth, beauty and immorality (as a fascist and Hitler supporter in the 1930s); the other, the tale of a man who knew that, above everything in life, he wanted influence. Triumphantly, Johnson was to become more notorious than Le Corbusier, as much in the spotlight as Frank Lloyd Wright. He was the first ‘starchitect’.  – 菲利浦·约翰逊于2005年去世,享年98岁,他的建筑影响力和赞誉已经从(现代主义)后柱延伸到(后现代主义)后柱。弗兰克·盖里发表了他的葬礼地址。马克·拉姆斯特(Mark Lamster)灵活的新传记《玻璃屋中的男人》(The Man in the Glass House)(2018;Little,Brown)讲述了两个类似的故事:一个是盖茨比式的财富、美丽和道德败坏的寓言(1930年代是法西斯和希特勒的支持者);另一个是一个男人的故事,他知道,在生活中最重要的是,他想要影响力。成功的是,约翰逊将变得比勒柯布西耶更臭名昭著,正如弗兰克劳埃德赖特一样在聚光灯下。他是第一个“星体”。

  • 何岸——胎记 (个展)

    2019.01.09 · 发表评论

    HdM 画廊非常荣幸地宣布将在伦敦空间举办艺术家何岸个展《胎记》,此次是何岸时隔四年后再次在欧洲举办个展。同时作为与 HdM 画廊的二度深入合作,展览将呈现何岸多种媒介的绘画及装置作品。展览将于 2019 年 1 月 10 开幕,持续至 2019 年 2 月 4日。