标签为 “音乐” 的文章

  • Blood in the Lung: Ron Athey, Cassils and Fanaa Conjure a …

    NEW! 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。

  • What Does the Success of Fashionably Autobiographical ‘Rom …

    NEW! 2019.01.15 · 发表评论

    Alfonso Cuarón has a thing for distance and height. Like Gravity (2014), the opening shot of last year’s Roma sees the world of Cleo – an indigenous woman and domestic worker for the movie’s middle-class Mexican family – from above. In this case, the above is not very high, maybe a few metres. The below is a stone pavement being washed. As the water begins to pool, the camera catches a doorway in the reflection. For Cuarón, the distance between them might as well be as vast as outer space and earth, as in Gravity. But in Roma, terra firma is the optical illusion that the water exposes. Much like a photographic print being developed, the image develops over time in soapy waves. Someone is cleaning, and it is through the reflection, and the water that gradually rises, that a story of female labour and servitude emerges.  – Alfonso Cuar n有一个关于距离和高度的东西。就像重力(2014),去年的罗马的第一张照片从上面看到了克莱奥的世界——一个土著妇女和电影中产阶级墨西哥家庭的家庭工人。在这种情况下,上面不是很高,可能几米。下面是一条正在冲洗的石头路面。当水开始往下流时,相机捕捉到了反射中的一个门口。对于cuar_n来说,它们之间的距离可能和外层空间和地球一样大,就像在重力中一样。但在罗马,陆地是水暴露的光学假象。就像正在冲洗的照片一样,图像会随着时间的推移在肥皂波中显影。有人在打扫,正是通过倒影和逐渐上升的水,一个关于女性劳动和奴役的故事出现了。

  • 倪越慧个展——成为 (个展)

    2019.01.12 · 发表评论

    ArtCN画廊荣幸宣布将与青年艺术家倪越慧一同为您呈现新年第一个展览。展览将展出艺术家一系列的布面油画和部分纸上油画棒作品,这也是艺术家在画廊的首次个展。

  • 谢其个展——锁骨 (个展)

    2019.01.09 · 发表评论

    BANK 荣幸宣布新展谢其《锁骨》开幕,此为谢其的首次上海个展,也同样是艺术家与 BANK 的首次合作。

  • 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。”

  • Can Artists’ Relationships with Nature Kindle Humility and …

    2019.01.04 · 发表评论

    Quaking before the unfathomable majesty of thunderstorms, mountains and the boundless ocean, Immanuel Kant described how the formidable experience of the destructive and terrifying power of the sublime natural world exposes our ‘physical helplessness as beings of nature’. Yet, man emerges triumphant in the final moment of sublime transcendence; nature is ‘small’ and inferior compared with the ‘infinity’ of reason and the human mind. In The Ideology of the Aesthetic (1990), the Marxist critic Terry Eagleton described the sublime as a ‘phallic swelling arising from our confrontation of danger […] in the pleasurable knowledge that we cannot actually be harmed’. In our contemporary world, humankind has pushed global ecologies to the brink of collapse, provoking environmental catastrophes of our own making. This immense natural power no longer inspires poetic gratification; today, the danger is all too real. – 伊曼纽尔·康德在深不可测的雷暴、高山和无边海洋的威严面前颤抖着,他描述了崇高自然世界的毁灭性和可怕力量的可怕经历如何暴露出我们作为自然存在的“身体上的无助”。然而,在崇高超越的最后时刻,人类获得了胜利;与理性和人类心灵的“无限”相比,自然是“小”和“低等”的。在《美学思想》(1990年)中,马克思主义批评家特里·伊格尔顿将这种崇高描述为“我们在愉悦的知识中面对危险时产生的阳具膨胀,我们实际上不能受到伤害”。在当今世界,人类已经把全球生态推向崩溃的边缘,引发了我们自己造成的环境灾难。这种巨大的自然力量不再能激发诗意的满足感;今天,危险是非常真实的。

  • Kendrick Lamar Resolves Artist’s Copyright Lawsuit Over ‘B …

    2019.01.02 · 发表评论

    Lina Iris Viktor has reportedly reached a settlement in her lawsuit against Lamar and SZA over visuals for their song ‘All the Stars’ – 据报道,莉娜·艾丽丝·维克托在她对拉马尔和西萨的诉讼中就他们的歌曲《全明星》的视觉效果达成了和解。

  • 走地狗——奶粉ZHOU个展 (个展)

    2019.01.01 · 发表评论

    艾可荣幸呈现奶粉zhou个展《走地狗》。艺术家将展场空间打造为具有其鲜明风格的私人咖啡馆,饱和跳脱的色彩运用、张力十足的直觉性表达,并结合其个人经历创造出虚幻与现实交织的作品和空间,向艺术家本人和观众提供了另一种面对世界的态度与方式。展览将于2018年12月29日开幕并持续至2019年3月3日。

  • ‘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