标签为 “人类学” 的文章

  • Frieze Week: Saturday – 中楣周:周六

    2019.02.17 · 发表评论

    Head straight to the New York City backlot to explore Frieze Projects – large-scale and immersive installations by international artists including Paul McCarthy’s giant Ketchup bottle, Sarah Cain’s painted transformation of a brownstone apartment, and Tino Sehgal’s performance. – 直接前往纽约市的外景地,探索饰带项目——国际艺术家的大型和沉浸式装置,包括保罗·麦卡锡的巨型番茄酱瓶、莎拉·凯恩对布朗斯通公寓的绘画改造以及蒂诺·塞加尔的表演。

  • Artist Susan Hiller, Explorer of Consciousness and the Occ …

    2019.01.31 · 发表评论

    The ‘paraconceptualist’ best known for her explorations of esoteric subjects has passed awaySusan Hiller. Courtesy: Lisson Gallery, London – 以探索深奥主题而闻名的“副概念论者”已经超越了阿瓦修森·希勒。礼遇:伦敦Lisson画廊

  • 十二月三十一日星期一,没有展览多可惜! (群展)

    2019.01.01 · 发表评论

    001从《1844年经济学哲学手稿》到《剩余价值理论》,马克思近乎完备地探讨了艺术生产的一般规律和历史、资本之间的关系。对生产理论的接受,使得艺术愈发趋向于通过人类学、政治经济学等视角进行切入社会现实。艺术生产的效率和效益,与大众劳动是否增长有着密切的关系。因此,我们长时间里接受的“认真”的态度,在经济起伏的年代,会被某种打破常规的态度所颠覆和取代。让艺术家应付一个作品和让艺术家认真对待一个作品,两种看似对立的态度都体现了特定的创作思路、态度乃至于观念。“应付”作为一种更加开放和自由的态度,有可能打破艺术家惯常的思维路径,取消作品的结构闭合以及观念闭合,也就有可能在作品中泄露更多意想不到的秘密和意义。故而,应付的态度看似内涵着一种“反艺术创作”的目的性,其最终的指向却是一种“消极的创造力”。

  • An Artist’s Guide to the Best in Berlin, Basel and Beyond …

    2018.12.25 · 发表评论

    ‘Bruce Nauman: Disappearing Acts’ at Schaulager, Basel Bruce Nauman’s retrospective included more than 150 works from the mid-1960s until today. The exhibition, which travelled on to New York’s MoMA, gathers drawings, photographs, sculptures, videos and sound pieces as well as most of Nauman’s monumental installations. The concluding work, in which Nauman repeatedly attempts and fails to arrive at a contrapposto, continues his morbid trajectory towards the reality of his aging body. – 巴塞尔舒拉赫的《布鲁斯·诺曼:消失行为》

  • 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”。

  • Complicating the Narrative of ‘Oceania’ – “大洋洲”叙 …

    2018.11.22 · 发表评论

    A week after the opening at the Royal Academy of Arts of ‘Oceania’ – an exhibition spanning the histories of the Pacific, which marks 250 years since Captain Cook’s first voyage to the region – I cradled a karetao in a nondescript London building that belongs to the British Museum. The wood was long-smoothed by hands, its markings deeply etched. In its materiality are a few clues as to where it may have come from; its easy curves are inscribed with meaning. I have seen a karetao described in English as both a ‘puppet’ and an ‘articulated marionette figure’, but the former is insufficient and the latter unnecessarily verbose. This linguistic exercise hints at a wider problem of how inadequate language can be at translating cultural nuance.  – 在“大洋洲”皇家艺术学院开幕一周后,我在属于大英博物馆的一座不具名的伦敦建筑中摇篮。大洋洲皇家艺术学院是横跨太平洋历史的展览,标志着库克船长首次航行250年。木头被手抚平了,它的痕迹深深地被腐蚀了。其实质上是关于它可能来自何处的一些线索;它的简单曲线刻有含义。我看到一个用英语描述的卡雷托既是“木偶”又是“有铰链的木偶”,但是前者是不够的,后者不必要地冗长。这种语言学练习暗示了一个更广泛的问题,即语言在翻译文化细微差别方面可能存在多大的不足。

  • 山海异兽——邱黯雄 (个展)

    2018.11.02 · 发表评论

    2017年甫完成《新山海经》系列动画电影,艺术家邱黯雄将于2018年11月8日,携全新作品《新山海经 异兽录》系列,登场现代传播集团位于上海的画廊——现代艺术基地(MAB)。

  • 弗朗西斯·埃利斯——消耗 (个展)

    2018.10.24 · 发表评论

    上海外滩美术馆于2018年11月9日到2019年2月24日举办比利时艺术家弗朗西斯·埃利斯(Francis Alÿs)在中国的首次大型个展——“消耗”,本次展览由长谷川祐子(Yuko Hasegawa)策划。

  • The Best of London's September Exhibitions – 伦 …

    2018.10.21 · 发表评论

    As the summer comes to a close, we shuffle back indoors to replenish in the soothing shadows; switch on the neon lights and/or projectors, print out press releases, and settle in for a new season of shows. – 夏天快要结束了,我们拖着脚步回到室内,在柔和的阴影中补充能量;打开霓虹灯和/或投影仪,打印新闻稿,安顿下来迎接新一季的节目。