标签为 “Russia” 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。

  • 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use of taxpayers’s money to fund ‘anti-Brexit propaganda’, and demanding that the gallery’s charitable status be withdrawn.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。

  • A Different Kind of Politics at the Doclisboa Film Festiva …

    2019.01.09 · 发表评论

    Back in 2016, the Czech journalist Saša Uhlová rigged herself with a secret camera and ground through six inhumane months in the most precarious, low-paid, brutal jobs she could find. Before long, Uhlová’s footage was stitched into a documentary by Apolena Rychlíková, The Limits of Work (2017), one difficult moment amongst many at Doclisboa’18 Film Festival in Lisbon. While Rychlíková’s experiment in investigative journalism revealed many expected barbarities, its most surprising elucidation was that one of today’s most taxing jobs is also one of the most visible: that of the supermarket cashier, forever exchanging food for money beneath bright lights and constant pressure. – 2016年,捷克记者萨阿乌洛夫(Sa_a Uhlov)在她能找到的最不稳定、低收入、最残酷的工作中,用一台秘密相机和地面武装自己,度过了六个不人道的月。不久,乌洛夫的影片就被阿波琳娜·里奇尔·科夫(Apolena Rychl_Kov_)编成了一部纪录片,《工作的极限》(2017年),在里斯本Doclisboa的18部电影节上,这是许多人的一个艰难时刻。虽然Rychl_kov_的调查性新闻实验揭示了许多预期中的野蛮行为,但最令人惊讶的解释是,今天最繁重的工作之一也是最明显的工作之一:超市收银员,在明亮的灯光和持续的压力下永远用食物换钱。

  • Q&A: @gangculture – 问&A: @帮派文化

    2018.12.25 · 发表评论

    Frieze has collaborated with Los Angeles-based photographer Trevor Hernandez on a photo series to launch Frieze Los Angeles. Celebrated as @gangculture on Instagram, Hernandez’s commission for Frieze reframes Paramount Pictures Studios from the artist’s distinctive, surrealist perspective, exposing uncanny compositions on the working lot and within the urban Los Angeles landscape. Hernandez’s work for Frieze Los Angeles will be featured on frieze.com, across social media and on visual advertising world-wide. – Frieze与洛杉矶的摄影师Trevor Hernandez合作拍摄了一系列照片,推出了Frieze Los Angeles。Hernandez的Frieze委员会以“Instagram上的帮派文化”而闻名,它从艺术家独特的超现实主义视角重新塑造了派拉蒙电影制片厂,揭露了工作场所和洛杉矶城市景观中不可思议的构图。Hernandez为Frieze Los Angeles所做的工作将在frieze.com、社交媒体和全球视觉广告上展出。

  • What Goes On in the Darkness at Sweden’s Northernmost Bien …

    2018.12.25 · 发表评论

    ‘I am the owner of this mountain,’ says a man at the entrance to a network of underground tunnels in Norrbotten, the northernmost county of Sweden. The tunnels were built during the Cold War to protect the region’s natural riches from Soviet forces – iron ore chief among them. The attack never came, the site was decommissioned and the current owner uses the dank, freezing tunnels to farm mushrooms, mine bitcoin and provide a temporary environment for art. Presently, they house Raqs Media Collective’s installation The Blood of Stars (2017), part of the Luleå Biennial, ‘Tidal Ground’. Wandering the subterranean passages with a flashlight, I find a vitrine containing a meteor that a guide tells me is older than Earth. Like the resources that the tunnels were built to defend, it is also made of iron. – “我是这座山的主人,”瑞典最北部的郡诺尔博滕(Norrbotten)地下隧道网络入口处的一名男子说。这些隧道是在冷战期间修建的,目的是保护该地区的自然财富免受苏联军队的侵袭,其中包括铁矿石。袭击从未发生,现场已经退役,现在的主人使用潮湿,冻结的隧道来种植蘑菇,开采比特币,并为艺术提供一个临时环境。目前,他们收藏了Raqs媒体集体的设施“星之血”(2017),这是Lule双年展“潮汐地”的一部分。我拿着手电筒在地下通道中漫步,发现一个玻璃瓶里装着一颗流星,一位导游告诉我它比地球还古老。就像隧道用来防御的资源一样,它也由铁制成。

  • Twisted Realities and Speculative Futures: The Year in Lit …

    2018.12.25 · 发表评论

    Considerations of time and speculative worlds kept coming up this year. Carlo Rovelli’s The Order of Time (Allen Lane) helped in my latest effort to understand entropy, and the meaning of time past, present and future in any story that we may try to tell. With chapter titles like ‘The Inadequacy of Grammar’ and ‘The Scent of Madeleine’, Rovelli presents the science with welcome literary and stylistic clarity. In Richard Powers’ arboreal novel, The Overstory, shortlisted for this year’s Booker Prize, Neelay Mehta dedicates his life to a project of world-building and ‘raising decaying corpses’. Neelay is a computer programmer whose simulations grow into full-blown Earth simulacra that will allow future humans to experience the prelapsarian natural world – before it was so blithely destroyed by our species. – 对时间和投机世界的考虑今年不断出现。卡洛·罗维利的《时间秩序》(艾伦·莱恩)帮助我最近努力理解熵,以及过去时间、现在时间以及未来时间在我们试图讲述的任何故事中的意义。罗维利以“语法的不足”和“玛德琳的气息”这样的章节标题向人们展示了科学,在文学和文体上都非常清晰。在理查德·鲍尔斯(Richard Powers)的《树栖小说》中,今年布克奖(Booker Prize)的入围者,尼尔·梅塔(Neelay Mehta)把他的一生献给了一个建设世界和“养育腐烂的尸体”的项目。Neelay是一个计算机程序员,他的模拟成长为成熟的地球模拟,这将允许未来人类体验先天自然世界——在它被我们物种如此快乐地摧毁之前。

  • US Galleries Mobilize in Support of Democrats Ahead of Tod …

    2018.11.06 · 发表评论

    In further news: a long-lost tapestry owned by Henry VIII re-emerges; Kerry James Marshall’s Chicago Public Library mural withdrawn from auction – 另辟蹊径:亨利八世拥有的一幅失传已久的挂毯重现;克里·詹姆斯·马歇尔的芝加哥公共图书馆壁画退出拍卖

  • Can Art Founded Within Capitalist Structures Ever Be Truly …

    2018.11.05 · 发表评论

    It’s clear (isn’t it?) that anti-democratic forces are at work when wealthy individuals exert the equivalent influence of political parties. And it’s weird (isn’t it?) when oligarchs start extolling democracy. – 很清楚(不是吗?)当富有的个人发挥政党的同等影响力时,反民主势力就在起作用。这很奇怪(不是吗?)寡头们开始赞美民主。

  • Where Do We Go From Here: The Global Visual Economy – …

    2018.11.02 · 发表评论

    In the postcolonial study of Asia and the non-Western world, the act of comparison has usually meant using Euro-American standards to judge non-Euro-American cultures. In the academic realm of literary studies, this has translated into questions such as: does China have the epic? Does India or Japan have the novel? Does Korea have science fiction? These enquiries echo earlier European views that cultures in Asia and Africa have no history, philosophy, religion or literature to speak of. We are now at some distance from such ethnocentric views but the longterm effects of their comparative assertions remain influential. – 在亚洲和非西方世界的后殖民研究中,比较行为通常意味着使用欧美标准来评判非欧美文化。在文学研究的学术领域,这一问题转化为:中国有史诗吗?印度或日本有这部小说吗?韩国有科幻小说吗?这些调查反映了早期欧洲人的观点,即亚洲和非洲的文化没有历史、哲学、宗教或文学可言。我们现在与这种以种族为中心的观点相去甚远,但他们比较论断的长期影响仍然存在。