标签为 “Performance” 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。

  • Blood in the Lung: Ron Athey, Cassils and Fanaa Conjure a …

    2019.01.15 · 发表评论

    This past December, I hopped on a bus in a fit of art tourism. My destination was Biosphere 2: built in 1987, the vast greenhouse complex was an experiment in creating a self-sustaining ecosystem, should earth eventually prove herself uninhabitable. Infamous in the scientific community, I found that its mention solicited a kind of cultish awe. When the structure got a little too hippy for its big-oil funders, Steve Bannon was apparently brought in to break up the party. – 去年12月,我跳上了一辆巴士,参加了艺术旅游。我的目的地是生物圈2:这座巨大的温室建筑建于1987年,是一个创造自我维持生态系统的实验,如果地球最终证明自己不适宜居住的话。在科学界声名狼藉,我发现它的提及引起了一种崇拜的敬畏。当该组织对其大型石油投资者来说过于嬉皮时,史蒂夫·班农显然是被带进来解散该党的。

  • How Anti-Period Piece ‘The Favourite’ Subverts Hollywood G …

    2019.01.10 · 发表评论

    Greek director Yorgos Lanthimos is an undisputed master of the existentialist chamber drama. His films, which rely on classic theatrical principles, typically maroon a small cast in cloistered environments where time – a dwindling clock, or vast expanses of boredom – looms like a curse. Dogtooth (2009) centres on a nuclear family hidden away at a Greek country estate, their only connection to the world a Mercedes-driving father. The Lobster (2015), by contrast, is set at a hotel retreat that is part sanitorium, part trans-migratory waiting room, a place where an elegant cast (including Rachel Weisz and Colin Farrell) shed their humanity and eventually turn to animals. In both instances, the banality of daily life is full of meaning, and in spite of the scenic isolation, the films are plainly allegories that probe the grey areas in which old social orders are at once inadequate and seemingly intractable. Such anxieties animate much of the Greek ‘weird wave’ – the efflorescence of low-budget films that emerged in the aftermath of a debt crisis that has roiled the country since 2010 – of which Lanthimos has been a de facto standard bearer. – 希腊导演约戈斯·兰希莫斯是存在主义室内戏剧无可争议的大师。他的电影依赖于经典的戏剧原则,通常是褐红色的,一个在与世隔绝的环境中的小演员,在这种环境中时间——一个逐渐缩小的时钟,或是一片巨大的无聊——像是一种诅咒。相比之下,E龙虾(2015年)位于酒店的一处休养地,部分是疗养院,部分是迁徙候诊室,一个优雅的演员(包括瑞秋·魏斯和科林·法雷尔)将他们的人性化和最终转向动物的地方。在这两种情况下,日常生活的平庸都充满了意义,尽管风景很孤立,但这些电影显然是寓言,探讨了旧社会秩序既不充分又似乎难以处理的灰色区域。这种焦虑在很大程度上刺激了希腊的“怪异浪潮”——自2010年以来,在一场债务危机后出现的低成本电影风起云涌——其中兰希姆斯实际上是一个旗手。

  • Looking Back 2018: Brazil and the Body-Electric – 回 …

    2019.01.08 · 发表评论

    2018 was a year marked by flames. From California’s recent wildfires to the extinction of the National Museum in Rio de Janeiro in a devastating fire this past September, this was, to say the least, a gruelling year. I suspect that the Brazilian government’s slovenliness with landmark architecture and historical preservation is not far from Trump’s biased blind eye towards climate change; their actions are the outcome of neglect and greed. – 2018年是一个充满火焰的年份。从加利福尼亚最近的野火到去年9月里约热内卢国家博物馆在一场毁灭性的大火中被扑灭,至少可以说,这是一个令人生厌的一年。我怀疑,巴西政府在标志性建筑和历史保护方面的迟缓,离特朗普对气候变化的偏见视而不见不远;他们的行为是忽视和贪婪的结果。

  • The Boys’ Club Gives Their Last Laugh – 男孩俱乐部发 …

    2018.12.29 · 发表评论

    Anyone doubting the resurgence of stand-up comedy need look no further than Netflix. In 2013, the streaming service produced five original stand-up specials; in 2018, they released 69 of these hour-long stand-up shows, as well as 25 episodes of stand-up from three discrete series. And popularity isn’t just measured in numbers. In the past few years, comedians have entered mainstream consciousness in a way we haven’t seen since the nineties. – 任何怀疑独立喜剧复兴的人都不需要再看Netflix了。2013年,流媒体服务制作了五个原创展台特辑;2018年,他们发布了69个小时长的展台节目,以及25个独立系列的展台节目。人气不仅仅是用数字来衡量的。在过去的几年里,喜剧演员以一种自90年代以来我们从未见过的方式进入了主流意识。

  • ‘A Chance to Bring Global Communities Together‘ – “ …

    2018.12.25 · 发表评论

    From the LUMA Foundation in Arles, France, to the Crystal Bridges Museum of Art in Bentonville, USA to M Woods in Beijing: some of the most significant – and exciting – art spaces in the world today are private museums – open for the benefit of the public but supported and, to some extent, directed by private individuals. – 从法国阿尔勒的LUMA基金会,到美国本顿维尔的水晶桥艺术博物馆,到北京的M Woods:当今世界上最重要和最令人兴奋的艺术空间中有一些是私人博物馆——为了公众利益而开放,但在一定程度上是由私人引导的。

  • Announcing Frieze Projects Los Angeles – 洛杉矶Friez …

    2018.12.25 · 发表评论

    At the launch edition of Frieze Los Angeles (February 15-17, 2019), artist projects will be encountered around the New York Street backlot of Paramount Pictures Studios, in buildings, streets, and interior spaces that have been captured countless times on screen. Frieze Projects will create a disorienting atmosphere where visitors are in two places at once: an artificial New York City within Los Angeles. – 在《弗里德斯·洛杉矶》(2019年2月15-17日)的启动版上,派拉蒙电影制片厂纽约街的背景区、无数次在银幕上被捕捉的建筑、街道和室内空间中,将会遇到艺术家项目。Frieze Projects将创造一种迷惑人心的氛围,游客同时身处两个地方:洛杉矶的人造纽约市。

  • Black and Blue and Red All Over in Houston – 休斯敦 …

    2018.12.25 · 发表评论

    We came down like the rain, hard and angular. I landed in Houston in the midst of a vicious storm, not long before air traffic control grounded all departing flights. This wasn’t in the forecast, I thought – but then the airwaves that weekend were full of shaky predictions: a big Blue Wave was coming, and it was going to break first in Texas. I had arrived for the opening preview of the new Menil Drawing Institute, four days before the US midterm elections. – 我们像雨一样下着,又硬又角。我在一场猛烈的暴风雨中降落在休斯敦,不久,空中交通管制就停止了所有起飞的航班。我想这在预测中没有,但是那个周末的电视广播充满了不稳定的预测:一个巨大的蓝浪即将来临,而且它将在得克萨斯州首开纪录。我是在美国中期选举前四天来参加新梅尼尔画研究所的开幕式预览的。

  • Possibilities for a Non-Alienated Life: A Report from the …

    2018.12.25 · 发表评论

    ‘The internet is overrated, give us back telepathy!’ exclaims a work from Sorry for Real (2015) by video artist Tabita Rezaire. Five large light boxes stand one after the other at Aspinwall House, main venue of the Kochi-Muziris Biennale (KMB) 2018. In one, a smartphone is shot in to the scene by a lightning bolt (and a floating message bubble reads, ‘People will f*** u up, then claim to be ur saviour! LOL’). In another, a diamanté-encrusted fingernail hovers over the phone’s answer button, reluctant to pick up a call from the ‘Western World’ (‘No White Tears! Not Today!’). – 互联网被高估了,让我们回心转意!视频艺术家塔比塔·雷扎尔(Ta.Rezaire)的《对不起现实》(2015)中的一幅作品惊叹道。五个大灯箱一个接一个地矗立在高知木兹里斯双年展(KMB)2018年的主会场阿斯宾沃尔大厦。其中一部,智能手机被闪电击中到现场(一个浮动信息泡沫写道,‘人们会跳起来,然后宣称是你的救星!’LOL’)。在另一个例子中,一个镶有钻石的手指甲在电话的应答按钮上盘旋,不愿接听来自“西方世界”的电话(“没有白眼泪!今天不行!”。