标签为 “Los Angeles” 的文章

  • Ai Weiwei Accuses Producers of Feature Film ‘Berlin I Love …

    2019.02.22 · 发表评论

    The artist alleges that the Cities of Love franchise cut his section to avoid upsetting the Chinese government ahead of a planned project in Shanghai  – 这位艺术家声称,爱之城特许经营权削减了他的部门,以避免在上海的一个计划项目之前让中国政府感到不安。

  • Frame: Emerging Galleries from Across the World – 框 …

    2019.02.20 · 发表评论

    Explore highlights from Frieze New York’s section for solo projects by galleries aged 10 years or younger – 探索Frieze New York的专区中10岁或10岁以下画廊的个人项目的亮点

  • "A Sold-Out Success" – "a售完成功"

    2019.02.20 · 发表评论

    We could not have hoped for a better inaugural edition of Frieze Los Angeles in terms of attendance, atmosphere and sales – Victoria Siddall, Director of Frieze Fairs – 从出席人数、气氛和销售情况来看,我们不可能希望洛杉矶Frieze的开幕式能有一个更好的版本——Frieze Fairs总监Victoria Siddall

  • Artist Anri Sala Revisits an Old Communist Hymn – 艺 …

    2019.02.19 · 发表评论

    The opening notes of Eugène Pottier’s L’Internationale would be familiar to many: the song has been utilized as the official communist and socialist song for movements worldwide since the mid-nineteenth century. It was the Second International and Third International Communist Parties’ hymn, after taking its title from the First International; the Soviet Union’s national anthem from 1918 to 1944. L’Internationale was originally intended to share the tune with La Marseillaise, France’s national anthem, but by 1888, it had its own melody. The lyrics’ translation into so many other languages, becoming a de facto anthem for leftist movements throughout China, Germany, England, numerous South Asian countries, as well as independent socialist, Marxist, and anarchist movements called for a distinctive sound. – 尤格·波蒂埃的《国际歌》的开场白对很多人来说都是耳熟能详的:自19世纪中叶以来,这首歌一直被作为官方的共产主义和社会主义歌曲用于世界各地的运动。这是继第一国际之后的第二次国际和第三次国际共产党的赞歌;1918年至1944年的苏联国歌。《国际歌》原本打算和法国国歌《马赛曲》分享这首曲子,但到了1888年,它有了自己的旋律。这首歌词翻译成许多其他语言,成为中国、德国、英国、许多南亚国家的左翼运动以及独立的社会主义运动、马克思主义运动和无政府主义运动的一首事实上的颂歌,要求有一种独特的声音。

  • Artist Tala Madani Enters the Theatre of Our Minds – …

    2019.02.19 · 发表评论

    Tala Madani’s men seem to bring out the worst in each other. When they get together in her paintings and films, they reveal a juvenile sensibility of perversion, or hazing – shaming, alienating, or deceiving each other into entering or creating humiliating or destructive scenarios for themselves. Though generally nondescript, their varying stages of male pattern baldness, paunch, and the occasional moustache disclose their middle age, even in the expressive brushstrokes of her animations. They are feral hybrid creatures crawling and meowing in the alley in Cats and Cat Men (all works 2018); they form a menacing little mob in The Crowd – screened as part of the artist’s compilation ‘The Audience’ at Frieze Los Angeles. – 塔拉·马达尼手下的人似乎把彼此最坏的一面展现出来。当他们在她的绘画和电影中聚在一起时,他们会表现出一种幼稚的变态感,或是欺负-羞辱,疏远,或是欺骗对方进入或为自己创造羞辱或破坏性的场景。虽然一般说来难以形容,但他们不同阶段的男性模式秃顶,大腹便便,偶尔的胡须透露出他们的中年,甚至在她的动画中富有表现力的笔触。它们是一种野生的混合动物,在猫和猫人的小巷里爬行和喵喵叫(所有作品2018年出版);它们在人群中形成了一个威胁性的小暴徒——作为艺术家在洛杉矶弗里泽的“观众”汇编的一部分进行了放映。

  • Tom Sachs and Werner Herzog Discuss Their Film ‘Paradox Bu …

    2019.02.18 · 发表评论

    ‘Do the easy thing first,’ Tom Sachs’s film Paradox Bullets (2018) begins, while a time-lapse video follows workers moving around an artist’s studio with the efficiency of a pit crew. ‘Do the easy thing first. As a warm-up to ease into the hard thing.’ After a moment of reflection on the approach, the scene starts up again. ‘The opposite is equally valid,’ continues the unmistakable voice of Werner Herzog. ‘Do the hard thing first because it takes more time, you are fresh, you can work in daytime, stores are open, and help is not out to dinner.’ In the studio, a team constructs and erects the geodesic dome that they had struggled with just a few seconds earlier.  – 汤姆·萨克斯(TomSachs)的电影《悖论子弹》(2018年)以“先做容易的事”开始,而一段延时视频则关注着工人们在艺术家工作室里以一个维修站工作人员的效率移动。“先做简单的事。作为一个热身,轻松进入困难的事情。’经过一段时间的思考,接近,场景又开始了。“相反的情况同样有效,”维尔纳·赫尔佐格明确的声音继续说道。“首先要做困难的事情,因为这需要更多的时间,你是新鲜的,你可以在白天工作,商店是开放的,帮助不是出去吃饭。”在工作室,一个团队建造和安装了测地穹顶,他们刚刚挣扎了几秒钟。

  • Additional Sunday Tickets Released Now – 额外的周日 …

    2019.02.17 · 发表评论

    A limited number of additional Gallery + Program tickets for Sunday 12-2pm and Program Only tickets for Sunday have just been released due to popular demand. Buy now to avoid disappointment! – 受大众需求的影响,仅周日12-2pm和仅周日节目门票的额外画廊+节目门票数量有限。立即购买以避免失望!

  • "We would love to buy a building with the help of our …

    2019.02.17 · 发表评论

    Spreads of stapled zines in cheerful hues of cantaloupe, berry, and pistachio sherbet with titles like Making Art During Fascism, Emergency Health Grant Resource Guide and Mapping Feminist L.A.’s “Angelena Atlas” line the shelves; grass-green and indigo bumper stickers, neon graphic tote bags, and flower and logo pins hang from every surface, along with little note cards bearing messages like “Culture-making is a fundamental human and societal experience.” and “We are a process, not the product.”—Women’s Center has managed to make dissent amusing, even rosy. – 以哈密瓜、浆果和开心果果子露的欢快色调,在货架上以“法西斯主义时期的艺术制作”、“紧急健康补助资源指南”和“女权主义者L.A.的“安杰丽娜阿特拉斯”等标题,将钉好的锌片铺开;草绿色和靛蓝的保险杠贴纸、霓虹图案手提包以及花饰和标志别针挂在每一个表面上。长长的卡片上写着“文化制作是人类和社会的基本经验”之类的信息,“我们是一个过程,而不是产品。”——妇女中心设法使异议变得有趣,甚至是乐观。

  • “It’s important to bring dirt into museum and gallery spac …

    2019.02.17 · 发表评论

    Rafa Esparza grew up painting and drawing but was more familiar with the murals and crafts within his family and community than with contemporary galleries or museums. As he got older, he nurtured a relationship to performance by joining his East L.A. neighbors’ sweat lodges and ceremonies, questioning their creation myths and rigid gender roles while enacting their ancient traditions. The modern institution would become more alienating, so he went back outside. – 拉法埃斯帕扎在绘画和绘画方面长大,但他对家庭和社区中的壁画和工艺品比对当代画廊或博物馆更熟悉。随着年龄的增长,他加入了他的东洛杉矶邻居的汗流浃背和仪式,在继承他们古老的传统的同时质疑他们的创造神话和僵化的性别角色,从而培养了与表演的关系。现代制度会变得更加疏远,所以他回到外面去了。