标签为 “Scene” 的文章

  • How the Myth of a Sacrificed Princess Bewitched Printmaker …

    2019.01.18 · 发表评论

    ‘They said it was a secret society, only for men, and that aroused my interest’, explained Cuban artist Belkis Ayón in 1997 of Abakuá, an all-male secret society brought to Cuba in the 19th century by slaves from Nigeria, and which served as boundless inspiration for her art. Ayón, who committed suicide in 1999 at the age of 32, her career on the rise in Cuba and internationally, left behind a striking body of work on the subject. A virtuosic printmaker, her favoured technique was collography, a labor-intensive process that involves collaging materials onto a cardboard matrix, producing a variety of textures. Her multi-part images included up to 18 individual prints composing nearly mural-sized scenes. Around 1990, she limited her palette to a velvety range of blacks, whites and greys.  – “他们说这是一个秘密的社会,只为男人而存在,这引起了我的兴趣,”1997年古巴艺术家贝尔基斯·阿伊·恩(Belkis Ay_n)解释说,阿贝库是19世纪尼日利亚奴隶带到古巴的一个全男性秘密的社会,对她的艺术起到了无限的启发作用。Ay_n在1999年自杀,年仅32岁,她的职业生涯在古巴和国际上都在不断上升,她留下了一个引人注目的研究课题。作为一个技艺精湛的版画制作者,她最喜欢的技术是白板印刷,这是一个劳动密集型的过程,涉及到将材料拼贴到纸板基质上,产生各种各样的纹理。她的多部分图像包括多达18个个人的版画组成几乎壁画大小的场景。大约在1990年,她把自己的调色板限制在一系列天鹅绒般的黑色、白色和灰色。

  • 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。

  • Actress Lucy Liu’s Handmade Books and Movie Monsters: the …

    2019.01.17 · 发表评论

    State of Motion: A Fear of Monsters National Library Building and 11 Kampong Bugis 23 January – 24 February 2019 – 运动状态:对怪物的恐惧

  • The Expectation of Spectacle: an Interview with Mike Nelso …

    2019.01.16 · 发表评论

    We interviewed the British artist Mike Nelson on the occasion of his monumental intervention at the OGR in Turin; a large wooden structure, leads into the space, resembling a large billboard or the screen of a drive-in, once beyond it visitors find themselves inside a dimly lit environment where, amid pressed rubble, there are about twenty parked cars, covered with dust and in complete abandon. Different epochs and genres collide within the installation: a recent past rubs against an almost archaeological dimension (or perhaps a near future?), the rubble on the floor reeks of precariousness, an ambiguity between a recent demolition, an in-progress apocalypse whilst hinting to the potential of reconstruction, together creating an overwhelming tone of expectation and suspense. – 我们采访了英国艺术家迈克·尼尔森,当时他在都灵的“食人魔”进行了一次具有纪念意义的干预活动。这是一个巨大的木结构,通向太空,就像一个巨大的广告牌或一个开车进去的屏幕,一旦超过它,游客就会发现自己置身于一个光线暗淡的环境中,在被压的碎石中,大约有20辆车停在那里。汽车,被灰尘覆盖,完全废弃。不同的时代和体裁在装置内发生了碰撞:最近的过去与几乎考古的层面(或者可能是不久的将来)发生了摩擦。地板上的碎石散发出不稳定的气息,在最近的一次拆迁中模糊了,在暗示重建潜力的同时,正在进行的天启,共同创造了一种压倒一切的期待和悬念。

  • 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。

  • Your Guide to the Best Shows at London Gallery-Share Condo …

    2019.01.10 · 发表评论

    This coming weekend marks the opening of the fourth iteration of Condo, an annual gallery-sharing initiative that brings together galleries from around the world – predominantly from across the USA and Germany, as well as others from Egypt, South Africa, Chile and China. Started here in London in 2016 by Vanessa Carlos, owner of Carlos/Ishikawa, it’s a month-long ‘collaborative exhibition’, which has since spawned Condos in New York, Mexico City, Shanghai, and smaller versions last year in Athens and Sao Paulo. Other gallery cooperation models had existed before, like Amsterdam gallerist Jeanine Hofland’s one-day mini fair, A Petite Fair, or the ‘Villa’ project initiated by Raster Gallery in Warsaw in 2006. However, Condo has proved a timely spark at a time of smaller- and mid-size gallery closures and blue-chip consolidation, inspiring other similar style projects such as Okey Dokey in Dusseldorf and Cologne, Friend of a Friend in Warsaw, and Gallery Share Los Angeles. As the idea expands, Condo London has accordingly grown each year, with this year’s edition featuring 52 galleries over 18 spaces across London. There’s a lot of ground to cover, so here’s a quick guide to some of the highlights: – 即将到来的这个周末标志着第四代公寓的开幕,这是一个年度画廊分享计划,汇集了来自世界各地的画廊——主要来自美国和德国,以及来自埃及、南非、智利和中国的其他画廊。由Carlos/Ishikawa的所有者Vanessa Carlos于2016年在伦敦开始,这是一个为期一个月的“合作展览”,自那以后,它在纽约、墨西哥城、上海以及去年在雅典和圣保罗催生了一些小型公寓。其他画廊合作模式以前也存在过,如阿姆斯特丹画廊珍妮霍夫兰的一天迷你展、小型展览会或2006年华沙光栅画廊发起的“别墅”项目。然而,事实证明,在中小型画廊关闭和蓝筹股整合的时代,公寓是一个及时的火花,激励了其他类似风格的项目,如杜塞尔多夫和科隆的奥基·多基,华沙一个朋友的朋友的朋友,以及洛杉矶的画廊共享。随着这个想法的扩展,伦敦公寓每年都有相应的增长,今年的版本在伦敦有52个画廊,超过18个空间。这里有很多要介绍的地方,下面是一些要点的快速指南:

  • 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。

  • Golden Globe-winning Biopic ‘Vice’ Unwittingly Boosts Dick …

    2019.01.07 · 发表评论

    In a series of comedies that started with 2004’s Anchorman: The Legend of Ron Burgundy and culminated in its 2013 sequel, Anchorman: The Legend Continues, director Adam McKay has established himself as America’s high poet of white guy imbecility. Those two films, plus three feature-length comedies in between, all starred Will Ferrell as some sort of insufferable idiot whose obliviousness to his own destructive tendencies bordered on magical. McKay could have extended the series indefinitely, replacing one cinematic dumbass with the next, but in 2015 he opted to direct The Big Short, a complex and didactic drama starring Ryan Gosling about the 2008 financial crisis. McKay may have switched genres, but he didn’t change his true subject matter: the film is as much about clueless white men and their destructive mistakes as were any of Ron Burgundy’s adventures. If a philosophical question emerged from The Big Short, it was whether it is possible – or worthwhile – to distinguish between stupidity and criminality. As Gosling’s character challenges a room of hedge funders: ‘Tell me the difference between stupid and illegal and I’ll have my wife’s brother arrested.’ Gosling’s finance dude settles the matter himself: ‘There’s some shady shit going down [in the housing market], but it’s fuelled by stupidity.’ – 在一系列以2004年的《主持人:勃艮第传奇》开始,并在2013年的续集《主持人:传奇》中达到高潮的喜剧中,导演亚当·麦凯(Adam McKay)确立了自己是美国白人低能诗人的地位。这两部电影,加上中间三部长篇喜剧,都是威尔·费雷尔主演的,他是一个难以忍受的白痴,对自己的破坏性倾向的遗忘近乎于魔法。麦凯本可以无限期地扩展这个系列,用下一个取代一个电影中的笨蛋,但在2015年,他选择了导演一部由瑞安·戈斯林主演的关于2008年金融危机的大型短剧,一部复杂的说教剧。麦凯可能改变了风格,但他并没有改变他真正的主题:这部电影讲述的是愚蠢的白人和他们的破坏性错误,就像罗恩·勃艮第的冒险一样。如果一个哲学问题从大短句中出现,那就是区分愚蠢和犯罪是否有可能——或者值得。当戈斯林的角色挑战一屋子对冲基金的投资者时:“告诉我愚蠢和非法的区别,我会逮捕我妻子的弟弟。”戈斯林的金融专家自己解决了这个问题:“(房地产市场)有一些可疑的事情要发生,但这是由愚蠢推动的。”

  • The Long March: Marking 40 Years of Reform and Development …

    2018.12.28 · 发表评论

    The year 2018 marked 40 years of reform and development in China. However, a gloomy reality has overshadowed the democratic aspirations that many within and outside of the country had associated with the implementation of a market economy. Initially reform and opening up served as an engine to transform China from an impoverished state to a formidable economic power. Yet the process of de-politicization following the student movement in 1989 set the ball rolling on a singular economic track. In 2018, mirroring the rise of right-wing strongmen across the world, everyday life and intellectual discussion have been increasingly subject to tightened surveillance and controls as President Xi consolidates his own powerbase. – 2018年是中国改革开放40年的一年。然而,令人沮丧的现实掩盖了国内外许多人与实行市场经济有关的民主愿望。最初,改革开放是中国从一个贫穷国家转变为一个强大经济力量的引擎。然而,1989年学生运动之后的去政治化进程使经济走上了一条奇特的轨道。2018,反映了右翼强人在世界各地的崛起,日常生活和知识分子的讨论越来越受到严密的监视和控制,因为席总统巩固了自己的权力基础。