标签为 “双年展” 的文章

  • 陶辉——节奏与知觉 (个展)

    2019.01.08 · 发表评论

    人在数字时代如何自处、共处?这正是陶辉(1987年生於重庆)在马凌画廊香港的首个个展「节奏与知觉」探讨的核心命题。来自重庆的中国艺术家陶辉通过录像和装置的创作语言,从社会身份、性别状态、种族划分和文化危机入手,呈现出当代人的集体经验。错置感是陶辉作品主要描绘的对象,带动观者正视自身的文化歷史、生活环境和社会身份。本次展览由四件作品组成,审视我们现有的生存状态和我们与之应对的行為,梳理纠缠其中的不稳定因素、不断变化的认知和精神需求。

  • 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。

  • ‘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。

  • 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。

  • ‘I Am Not the Problem’: Warren B. Kanders Responds to Whit …

    2018.12.25 · 发表评论

    In further news: Paris museums close after Gilets Jaunes protests; Candice Breitz demands release of aid worker – 进一步的消息:Gilets Jaunes抗议后巴黎博物馆关闭;Candice Breitz要求释放援助人员

  • 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!”。

  • From V&A Dundee to South London Gallery, The Year in B …

    2018.12.25 · 发表评论

    ‘London is Re-Open’, an updated version of Mayor Sadiq Khan’s 2016 slogan should read, following the recent completion of renovations, refurbishments and low-key extensions across a flurry of the city’s cultural institutions. Most successful among them has been Haworth Tompkins’s 12-year project at Battersea Arts Centre, the scope of which was dramatically expanded after a catastrophic fire in 2015. The firm’s work on the Grand Hall is a masterful combination of conservation and reconstruction – the space’s charred walls remain as testament to the blaze, while the new plywood ceiling abstracts the destroyed plaster pattern of its 19th century predecessor, once part of the town hall.   – “伦敦重新开放”,这是萨迪克·汗市长2016年口号的更新版本,最近完成了整修、翻新和城市文化机构的低调扩建。其中最成功的是哈沃斯·汤普金斯在巴特西艺术中心的为期12年的项目,在2015年的一场灾难性火灾后,该项目的规模大大扩大了。该公司在大厅的工作是保护和重建的巧妙结合-空间的烧焦的墙壁仍然作为火焰的证明,而新的胶合板天花板抽象出其19世纪前任,曾经是市政厅的一部分被破坏的石膏图案。γ

  • The Highs and Lows of Scotland’s Year in Art 2018 – …

    2018.12.25 · 发表评论

    There are two starkly contrasting images that operate as a kind of visual shorthand for the highs and lows of Scotland’s year in the visual arts. One is the forlorn yet still strangely beautiful sight of the Glasgow School of Art’s gutted Mackintosh building, a haunting, skeletal reminder of the devastation wreaked on the night of 15 June as fire ripped through it and the neighbouring 02 ABC music venue. The other is the brand new Kengo Kuma-designed V&A Dundee – which opened to the public on 15 September – a bold and imposing presence on this east coast city’s waterfront that speaks of civic ambition and cultural soft power. Old and new, renewal and destruction – it’s been a sometimes fraught and rarely dull year. – 在视觉艺术中,有两幅截然不同的图像作为苏格兰年份高低的视觉速记。其中一幅是格拉斯哥艺术学院那座被摧毁的麦金托什大楼的凄凉而又奇妙的美丽景象,它令人难以忘怀,让人想起6月15日夜里发生的大火,以及邻近的02ABC音乐会场。另一个是九月十五日向公众开放的全新肯戈·库马设计的V&A Dundee,在这个东海岸城市的滨水区,它大胆而雄伟地展现了公民的雄心壮志和文化软实力。新旧交替,更新和毁灭——这一年有时很紧张,也很少枯燥。

  • Looking Back on the Year in Art and Protest in Cuba – …

    2018.12.25 · 发表评论

    ‘Within the Revolution everything, against the Revolution nothing,’ declared Fidel Castro to the Cuban intelligentsia in 1961. Those words put an end to a debate over whether the state was justified in its censure of a film about nightlife at Havana’s port and led to the closure of Cuba’s premiere cultural magazine, Lunes de Revolución. While that infamous phrase has defined Cuba’s cultural policy ever since, its interpretation has varied depending on the political climate of the country. Nowadays Cuba enjoys international prestige for its free art education and its roster of home-grown art stars, but abstract painting, homoerotic fiction, scatological performances, anti-authoritarian poems, political punk rock and rap have fallen outside the boundaries of acceptability at many stages of the revolution, leading to arrests, the social death of several intellectuals and the confiscation of art works.       – 1961年,卡斯特罗向古巴知识分子宣称:“在革命中,一切都是反对革命的,什么都不是。”这些话结束了关于哈瓦那政府对一部关于哈瓦那港口夜生活的电影的批评是否正当的辩论,并导致古巴首映的文化杂志《Lunes de Revolucin》的关闭。尽管这个臭名昭著的词组自那时起就界定了古巴的文化政策,但其解释因政治而异。国家的气候。如今,古巴因其自由的艺术教育和本国艺术明星的名册而享有国际声誉,但抽象绘画、同性恋小说、讽刺表演、反独裁诗歌、政治朋克摇滚和饶舌在革命的许多阶段都已超出了可接受的范围,导致社会被捕。一些知识分子的死亡和艺术品的没收。