标签为 “VR” 的文章

  • Wes Anderson and Juman Malouf’s Curatorial Debut in Vienna …

    NEW! 2018.11.15 · 发表评论

    ‘Every passion borders on the chaotic,’ wrote Walter Benjamin in his essay ‘Unpacking My Library’ (1931), ‘but the collector’s passion borders on the chaos of memories’. The collector of books, artworks, or miscellaneous trinkets, Benjamin thought, is at the mercy of the sheer variety of things out there. Once part of a collection, however, the collector relives their love for those things just by looking at them. – 沃尔特·本杰明(Walter Benjamin)在他的文章《解开我的图书馆》(Unpacking My Library)(1931)中写道:“每种激情都近乎于混乱,但收藏家的激情却近乎于记忆的混乱。”本杰明想,收藏书籍、艺术品或杂项小饰品的人,完全听任各种各样的东西摆布。然而,一旦收藏品的一部分,收藏家通过看它们来重新体验他们对这些事物的热爱。

  • 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

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further news: a long-lost tapestry owned by Henry VIII re-emerges; Kerry James Marshall’s Chicago Public Library mural withdrawn from auction – 另辟蹊径:亨利八世拥有的一幅失传已久的挂毯重现;克里·詹姆斯·马歇尔的芝加哥公共图书馆壁画退出拍卖

  • With Shanghai’s Busiest Art Month Underway, Highlights of …

    2018.11.06 · 发表评论

    ‘Proregress’ 12th Shanghai Biennale The Power Station of Art 10 November, 2018 – 10 March, 2019 – 第十二年度上海双年展

  • 苗颖个展——他山之石 (个展)

    2018.11.04 · 发表评论

    与Thomas L. Friedman发表“世界是平的”一书已经过去了14年,世界即使曾经变平过,也已早被科技公司算法和过滤泡沫建立起来的无形的墙所隔离。这些墙将特定意识形态的人包围起来,并因此区分出不同的文化/政治群体,也间接导致了福山(Francis Fukuyama)所言“身份政治带来的民主社会断裂”。

  • Rebecca Belmore: The Aesthetics of Indigenous Protest R …

    2018.11.02 · 发表评论

    In the summer of 1990, the Canadian government deployed the largest number of troops since the Korean War. Tanks and guns and jackbooted soldiers arrived not overseas but in the small Quebecois town of Oka to enforce the construction of an additional nine holes on a local golf course. The extension of the leisure class’ grass playground would mean further destruction of The Pines, a traditional burial ground of the nearby Mohawk communities of Kanehsatàke and Kahnawake. In response to this threat, approximately 30 Mohawk men erected a barricade to block entrance into The Pines. After confrontation with local police, this blockade swelled. Canadian media and official record called it the Oka Crisis; for the Mohawks, it was the Oka Uprising. This, too, is how it is remembered by the hundreds of Native peoples throughout North America who followed the blockade on television, or travelled to join in arms, or learned about it years later, as I did from a future elder. As the artist Rebecca Belmore has said: ‘All Native people were affected by that summer.’ Like the shooting down of General George Custer during the Battle of the Little Bighorn in 1876, it is one of our beloved victories. – 1990夏季,加拿大政府自朝鲜战争以来部署了最多的军队。坦克、枪支和轻便马靴的士兵没有到达海外,而是到达了魁北克小镇奥卡,在当地的高尔夫球场上建造了另外九个洞。休閒阶层的草地游乐场的扩展将意味着松树园的进一步破坏,松树园是邻近的莫霍克社区Kanehsatàke和Kahnawake的传统墓地。为了应对这一威胁,大约30名莫霍克人竖起路障阻止松树进入。在与当地警察发生冲突后,封锁加强了。加拿大媒体和官方记录称这是OKA危机;对于莫霍克人来说,这是奥卡起义。这也是北美各地数百个土著民族如何记住的,他们跟随电视上的封锁,或前往参加武装,或多年后了解它,就像我从未来的长辈那里做的那样。正如艺术家丽贝卡·贝尔莫尔(Rebecca Belmore)所说:“所有原住民都受到那个夏天的影响。”就像1876年在小巨角战役中乔治·卡斯特将军被击毙一样,这是我们最爱的胜利之一。

  • Decolonial Documents: Part One – 非殖民化文件:第一 …

    2018.10.30 · 发表评论

    Current conversations around decolonizing culture are not new: they are informed by multiple histories that have questioned Western hegemony. In the first of a six-part series, we asked five artists, curators and writers whose work has been involved with this challenge to discuss the projects that have informed their thinking – from exhibitions and publications to more intangible and transient networks, whose effects are often more felt than documented, though no less significant. – Current conversations around decolonizing culture are not new: they are informed by multiple histories that have questioned Western hegemony. In the first of a six-part series, we asked five artists, curators and writers whose work has been involved with this challenge to discuss the projects that have informed their thinking – from exhibitions and publications to more intangible and transient networks, whose effects are often more felt比记录的,虽然不那么重要。

  • 旋构塔|全息书写:2018 国际跨媒体艺术节

    2018.10.27 · 发表评论

    八十余位国内外艺术家参与 跨媒体“全息式”创作 现场展出百余件作品 互动引发多维度思考与体验 旋构塔|全息书写:2018 国际跨媒体艺术节UP-YOUTH | Holographia: 2018 International Intermedia Art Festival 策展人·姚大钧

  • One Take: Luke Willis Thompson ‘_Human’ – 一个拍摄: …

    2018.10.19 · 发表评论

    The final line of Frantz Fanon’s impassioned anti-colonial book, Peau noire, masques blancs (Black Skin, White Masks, 1952), is rendered, in English, as follows: ‘O my body, make of me always a man who questions!’ 1 Published in the same year that the term Third World was coined by anthropologist Alfred Sauvy, Fanon’s closing prayer forged a new link between anatomy and the destiny of those that Europe colonized, whose bodies were trafficked into bondage. Routing a sense of corporeal novelty through his own vexed identification with manhood, Fanon’s prayer undermines any attempt to privilege normative masculinity. In asking his body to make of him ‘a man who questions’, Fanon sets himself in opposition to the colonial father who expects a body to mutely follow. As we continue to reckon with the malignant colour-coded hierarchies that we have inherited from slavery and colonialism, so Fanon’s declaration echoes. His term for this legacy’s lingering presence upon the body, ‘a racial epidermal schema’ 2, remains a crucial theoretical phrase for working through our own era, one in which, as cultural theorist Paul Gilroy notes: ‘screens rather than lenses now mediate the pursuit of bodily truths.’ 3 – 弗朗茨·法农充满激情的反殖民主义著作《黑色的珠儿,白色的面具》(黑皮肤,白色的面具,1952)的最后一行用英语写道:“我的身体,让我永远成为一个有问题的人!”同年,人类学家阿尔弗雷德·索维(Alfred Sauvy)创造了“第三世界”这个术语,法农的闭幕式祈祷在解剖学与欧洲殖民者的命运之间建立了新的联系,欧洲殖民者的尸体被贩卖成奴隶。范农的祈祷通过自己对男性身份的烦恼认同,消除了肉体上的新奇感,削弱了任何赋予男性规范特权的企图。在要求他的身体使他成为一个“有问题的人”时,法农把自己置于殖民地父亲的对立中,他希望一个身体默默地跟随他。当我们继续考虑我们从奴隶制和殖民主义中继承下来的恶性的颜色编码等级制度时,范农的宣言引起了共鸣。他对这种遗留物在身体上挥之不去的存在“种族表皮图式”2,仍然是贯穿我们这个时代的关键理论用语,正如文化理论家保罗·吉尔罗伊指出的那样,在这个理论用语中,“屏幕,而不是镜头,现在调解了对身体真理的追求。”