标签为 “New York” 的文章

  • 王子平——不安的花园 (个展)

    2018.11.28 · 发表评论

    Space Feng将于2018年12月1日在纽约37A Bedford Street的Luv Tea空间举办王子平的首次个人画展,画展开幕式将于当晚6:00~8:00举行,届时会有轻食和饮料提供。

  • Weekend Reading List: The Class Divide that Plagues the Ar …

    2018.11.23 · 发表评论

    Rereading Mark Fisher with the publication of his collected writings; Olivia Laing’s Crudo makes the NYT’s ‘100 Notable Books’ – 重新阅读马克·费希尔的作品集;奥利维亚·莱因的《鲁多》成为纽约时报的“100本名著”。

  • Apply Now – Frieze Artist Award at Frieze New York 2 …

    2018.11.21 · 发表评论

    Applications are now being accepted for the Frieze Artist Award at Frieze New York 2019, curated by Courtney J Martin. Welcoming applications from across the world, the Artist Award is an open call for an emerging artist to realize a major site-specific work at Frieze Art Fair, as part of the fair’s non-profit program. The Frieze Artist Award is supported by the Luma Foundation. The deadline for submission is January 11, 2019, at 5pm EST. – 应用现在正在接受弗里泽艺术家奖在弗里泽纽约2019,由Courtney J Martin策划。欢迎来自世界各地的申请,艺术家奖是一个开放的呼吁,一个新兴的艺术家实现在弗里兹艺术博览会的主要网站的具体工作,作为博览会的非营利计划的一部分。FLIZE艺术家奖由LUMA基金会资助。提交截止日期是2019年1月11日,东部时间下午5点。


    2018.11.21 · 发表评论

    GINA BEAVERS (个展) 展览日期 2019年3月31日 - 2019年9月2日 开幕时间 2019年3月31日, 星期...

  • Tactile Dialogues: Textile Art from 1970s to Now – …

    2018.11.20 · 发表评论

    In the art-market documentary The Price of Everything (2018), Amy Cappellazzo of Sotheby’s suggests positioning works in a corporate atrium as a one-way route to career death. As the auctioneer sees it, once you wind up in the lobby, there’s no getting out. It seems an irresistibly knowing gesture, then, to mount an ambitious show of textile works – a medium, in a less appreciative era, synonymous with lobby art – within the entrance hall and stairwell of a 1960s corporate block. – 在艺术市场纪录片《万物价格》(2018)中,苏富比的艾米·卡佩拉佐(Amy Cappellazzo)建议将公司中庭中的作品定位为职业死亡的单行道。正如拍卖商看到的那样,一旦你在大厅里出现,就没有出去了。那么,在上世纪60年代一个商业街区的入口大厅和楼梯间举办一场雄心勃勃的纺织品展览似乎是一种不可抗拒的明智的姿态——一种媒介,在一个不那么欣赏的时代,与大堂艺术同义。

  • Two Books Survey and Situate the Last Decade of Performanc …

    2018.11.19 · 发表评论

    Every body is working in performance. And there’s a lot of it around. Two major new volumes situate the last decade of contemporary art’s most rambunctious medium: RoseLee Goldberg’s Performance Now (Thames and Hudson, 2018) and Catherine Wood’s Performance in Contemporary Art (Tate Publishing, 2018). These are texts that expand from the authors’ respective archives at Performa, New York, and Tate Modern, London, where the performance programmes they have shepherded have become institutions unto themselves. – 每个人都在工作。周围有很多。最近十年,当代艺术最繁琐的媒介——罗斯·李·戈德堡(RoseLee Goldberg’s Performance.)(泰晤士河和哈德森,2018)和凯瑟琳·伍德(Catherine Wood’sPerformanceinContentionalArt)(泰特出版社,2018)出版了两本主要的新书。这些文本是从作者分别在纽约Performa和伦敦Tate Modern的档案中扩充而来的,在那里,他们领导的表演节目已经成为他们自己的机构。

  • Art Dealer’s Family Hire Detectives to Find Nazi-Looted De …

    2018.11.16 · 发表评论

    In further news: UK threatens to leave UNESCO; Pace team up with Christo 2274.jpg Edgar Degas, Portrait of Mlle. Gabrielle Diot, 1890. Courtesy: Art Recovery International – 另一则新闻:英国威胁离开联合国教科文组织;与克里斯托合作步伐

  • One Month After Jamal Khashoggi’s Killing, What’s Left of …

    2018.11.16 · 发表评论

    Earlier this year, Crown Prince Mohammed Bin Salman (MBS), the effective ruler of Saudi Arabia, went on a diplomatic tour of the United Kingdom and the United States. His aim was to rebrand the Saudi monarchy as an enlightened, reforming institution, and to attract the Western investment that his country desperately needs if it is to end its dependence on oil. On his trip, MBS not only shook hands with Donald Trump and Theresa May, but also met with Facebook’s Mark Zuckerberg, actor Dwayne ‘The Rock’ Johnson, and Disney CEO Bob Iger. Media coverage, on the whole, was credulously positive, as the supposed young reformer was held up as the new bright hope for Saudi Arabia, and perhaps for the Middle East itself. – 今年早些时候,沙特阿拉伯的有效统治者穆罕默德·本·萨尔曼王储(MBS)对英国和美国进行了外交访问。他的目标是重塑沙特君主制为一个开明的、改革的机构,并吸引西方投资,如果沙特要结束对石油的依赖,西方国家就迫切需要这些投资。在访问期间,MBS不仅与唐纳德·特朗普和特丽莎·梅握手,还与Facebook的马克·扎克伯格、演员德韦恩·约翰逊、迪斯尼的CEO鲍勃·伊格尔会面。总的来说,媒体报道是令人信服的积极的,因为这位所谓的年轻改革者被视作沙特阿拉伯,或许还有中东的新希望。

  • A ‘Doctored’ Video of Trump’s Clash with CNN Reporter Goes …

    2018.11.15 · 发表评论

    In Stephen Spielberg’s noir-sci-fi film Minority Report (2002), Tom Cruise plays a cop in the Washington DC police precrime division. Precrime, meaning, Cruise sees offences before they happen and rushes to stop the action prior to it taking place. The intel is received from three ‘precognitives’ – mutants who foresee the crimes – and their knowledge is transmitted to Cruise via a computer with a huge glass screen. Cruise’s performance involves his cop character conducting these images across this futuristic user interface, putting on special gloves that allow him to shift between images produced by the precogs, explore and zoom in on the background to see a mailbox, or a clock on the wall, and know the time and place where violence is about to happen. The images and short videos are grainy and poor, to communicate the fact that these are reflections of the future, but Cruise still gets to magnify them, or close in, and get all the information he needs. – 在斯蒂芬·斯皮尔伯格(Stephen Spielberg)的黑色科幻电影《少数族裔报告》(2002)中,汤姆·克鲁斯(Tom Cruise)在华盛顿警察局预犯罪分局扮演一名警察。先见之明,意味着,克鲁斯看到犯罪发生之前,并急于停止行动之前发生。英特尔是从三个“预知者”——预知犯罪的突变体——那里收到的,他们的知识通过一个带有巨大玻璃屏幕的计算机传送给克鲁斯。克鲁斯的表演包括他的警察角色在这个未来派的用户界面上处理这些图像,戴上特殊的手套,允许他在由预告片产生的图像之间切换,在背景中探索和放大以查看邮箱或墙上的时钟,并了解Tim。E和暴力即将发生的地方。这些图像和短片很粗糙,不足以说明这些是未来的反映,但是克鲁斯仍然可以放大它们,或者接近它们,并获得他所需要的所有信息。