标签为 “Theatre” 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。

  • 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。

  • 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。

  • 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。

  • 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。

  • Novelist Tricked by Pranksters Into Discovering ‘Stolen Pi …

    2018.11.19 · 发表评论

    A Picasso, snatched from Rotterdam’s Kunsthal Museum in 2012 in ‘the theft of the century’, has been revived in an elaborate hoax – 毕加索于2012在鹿特丹的昆斯塔尔博物馆抢夺了《世纪窃取》,在一场精心策划的骗局中复活了。