标签为 “Theatre” 的文章

  • Marvel Comics’ Stan Lee Dies Aged 95 – 奇迹漫画《斯 …

    2018.11.13 · 发表评论

    In further news: Berlin cultural institutions rally against far-right; Tate Liverpool to stage first UK show dedicated to Keith Haring – 进一步的消息:柏林文化机构联合起来反对极右派;泰特·利物浦为基思·哈林举行英国首场演出

  • Time Interrupted at Toulouse’s Contemporary Art Biennial & …

    2018.11.12 · 发表评论

    Springtime in September – the defining concept of the Toulouse contemporary art biennial – seems, right now, like an immensely pleasing prospect. At the blustery conclusion of a summer that has been, depending on your predicament or point of view, either a blissful heatwave haze or an unsettling foretaste of the apocalyptic climate to come, there might be few things more attractive than the impossible dream of turning back time, putting the weather in rewind, hitting refresh on spring. Such, it might seem, is the fanciful aspiration of ‘Le Printemps de Septembre’. Under the directorship of veteran curator Christian Bernard, this richly varied biennial once again invites us to share in an autumn-replacing printemps: an abundant flowering of art across a city and its environs – an offer that has, on the face of it, an upbeat, benevolent civic generosity. Art, we might presume, is like spring: with it comes revival, new life, more light. – 九月的春天——图卢兹当代艺术双年展的定义性概念——看起来,现在,像是一个非常令人愉快的前景。根据你的困境或观点,在即将到来的夏天即将到来的狂风暴雨的结束之时,不管是喜庆的热浪阴霾,还是令人不安的末日气候的预感,没有什么事情比倒退时间的不可能的梦想更有吸引力了。天气倒退,在春天打刷新。这样看来,这可能是“九月”的幻想。在资深馆长克里斯蒂安·伯纳德的指导下,这个丰富多彩的两年一度的展览会再次邀请我们分享一个秋天取代的王子们:一个城市及其周边地区艺术的盛开——表面上,这个提议是一个乐观、仁慈的公民慷慨。我们可以想象,艺术就像春天:伴随着复兴,新的生命,更多的光。

  • 在芝加哥试图卖掉他的壁画后,Kerry James Marshall结束了他的 …

    2018.11.09 · 发表评论

    In further news: Italian government cracks down on art crime; and screening live arts performances fails to diversify audiences  – 另辟蹊径:意大利政府严厉打击艺术犯罪,现场放映艺术表演未能使观众多样化 

  • White Theatre Director Faces Backlash after Receiving Fund …

    2018.11.05 · 发表评论

    Anthony Ekundayo Lennon, born to Irish parents but describes himself as ‘mixed-heritage’, won a theatre job meant to go to a BAME applicant – 安东尼·埃昆达约·列侬,生于爱尔兰父母,但自称是“混合血统”,赢得了一份戏剧工作,打算去BAME应聘。

  • Frieze Donates to Children & the Arts – 弗里泽捐 …

    2018.11.01 · 发表评论

    We are pleased to announce that Frieze has been able to donate £19,000 to Children & the Arts, the Charity Partner for Frieze London and Frieze Masters 2018 through proceeds from the cloakrooms onsite at the fairs. – 我们很高兴地宣布,FrIEZE已经能够通过FLAEZE伦敦和Fruez Mrand 2018的慈善伙伴捐赠19000英镑给儿童和艺术。

  • Across Australia, Artists are Disrupting the Colonial Mind …

    2018.11.01 · 发表评论

    In the Australian art world, ‘decolonization’ has become a buzzword in academia, galleries and museums, yet our Aboriginal and Torres Strait Islander artists have been calling for decolonization and asserting sovereignty for decades. The process of decolonization requires ongoing work and our peoples have created generational legacies of storytelling about surviving colonization through art, theatre, literature and community activism. Sovereignty is central to the identity and well-being of Indigenous peoples in our fight for justice. The arts are an accessible and engaging way of discussing these complex issues in a country where white colonial and patriarchal narratives dominate public spaces. In recent years, a social-media revolution has been mobilized by Indigenous scholars, artists and activists who descend from a lineage of Aboriginal resistance through letter- and petition-writing. There is also an emerging Aboriginal podcast culture: Wild Black Women, for example – hosted by the academic Dr Chelsea Bond and the comedy writer Angelina Hurley – is a sharply funny and politically astute programme that takes racism, whiteness and the patriarchy to task. – 在澳大利亚艺术界,“非殖民化”已经成为学术界、美术馆和博物馆的一个时髦词,然而几十年来,我们的土著和托雷斯海峡岛民艺术家们一直呼吁非殖民化和维护主权。非殖民化进程需要不断努力,我们各国人民通过艺术、戏剧、文学和社区活动创造了一代又一代的传奇故事,讲述殖民地幸存下来的故事。主权是我们争取正义的原住民的身份和福祉的核心。在一个白人殖民主义和父权主义叙事占据公共空间的国家,艺术是讨论这些复杂问题的一种容易接近和吸引人的方式。近年来,土著学者、艺术家和活动家发动了一场社会媒体革命,他们通过写信和请愿书从土著反抗血统中脱颖而出。还有一个正在兴起的原住民播客文化:例如,由学术界切尔西·邦德博士和喜剧作家安吉丽娜·赫利主持的《野生黑人妇女》就是一个非常有趣和政治精明的节目,它以种族主义、白人和父权制为任务。

  • One Take: Kemang Wa Lehulere’s Performance of Self-Excavat …

    2018.11.01 · 发表评论

    Kemang Wa Lehulere, not quite 35 years old, could easily be mistaken for an artist of another era: a multidisciplinary mystic of 1940s and ’50s Black Mountain College, like John Cage and Merce Cunningham, say, or an embodied and freewheeling spirit of Willoughby Sharp’s 1970s Avalanche Magazine circle. Indeed, the Capetonian Wa Lehulere was inspired in recent years by Japanese fluxus veteran Mieko Shiomi and shares with those predecessors a sense of levity and play. His work engages with bodies and their environments and he repurposes the detritus around him, resuscitating it as something wholly new. During his commission for Performa 17 in New York, I cut my skin to liberate the splinter (2017), Wa Lehulere moved lithely around a set, shoeless and clad in loose-fitting white garb – like a house painter – while conducting a beautiful cacophony from an array of rough-hewn instruments. During a biennial conceived around the theme of dada, his intervention perhaps most clearly channelled the spirit of his forebears at the Cabaret Voltaire, a whimsically anarchic response to a world riven by nationalism and violence. – 不到35岁的克曼·瓦·勒胡勒很容易被误认为是另一个时代的艺术家:比如,20世纪40年代和50年代的黑山学院,比如约翰·凯奇和梅斯·坎宁安,或者是威洛比·夏普1970年代《雪崩》杂志中体现的、随心所欲的精神。圆圈。事实上,开普敦的Wa Lehulere是近年来受到日本豪华车老手Mieko Shiomi的启发,并与前任分享一种轻浮和玩耍的感觉。他的工作与身体和环境有关,他重新利用他周围的碎屑,使之恢复活力,成为全新的东西。瓦·勒胡勒在纽约参加17场演出的委托期间,我割破了皮肤,解开了碎片(2017年),他穿着宽松的白色外套,一双无鞋,像个室内画家,一边在一排粗糙的器械上演奏着美妙的杂音。在围绕达达的主题构思的两年期中,他的干预或许最清楚地传达了他在伏尔泰内阁祖先的精神,一种异想天开的无政府反应,以应对被民族主义和暴力撕裂的世界。

  • India’s Art World Hit by Sexual Assault Claims; Kochi Bien …

    2018.10.24 · 发表评论

    In further news: world’s biggest arts venue lands in Taiwan; Brooklyn’s Signal gallery to closeRiyas Komu. Courtesy: Wikimedia Commons – 另一则新闻是:世界上最大的艺术会场在台湾登陆;布鲁克林的信号画廊。礼貌:维基媒体共享

  • 班克斯自毁恶作剧的无政府状态、虔诚与名人

    2018.10.23 · 发表评论