圣保罗
19 篇
This is the first time that an artist collective, and curators from Asia, have been picked to direct the prestigious exhibition - 这是第一次有艺术家团体和来自亚洲的策展人被挑选来指导这一著名的展览。
Explore highlights from Frieze New York's section for solo projects by galleries aged 10 years or younger - 探索Frieze New York的专区中10岁或10岁以下画廊的个人项目的亮点
由米兰国际艺术博览会（Fiera Milano）主办的第24届国际现代与当代艺术博览会 MIART 2019 将于4月5日至7日在米兰举行。Alessandro Rabottini宣布，来自19个国家的186个画廊将分为七个部分，将展出现代大师、当代知名艺术家、新兴人才和设计师的作品。
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。
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。
Gay is a word that doesn’t have to mean anything, but sometimes does. It swells into significance on occasions when the difference it implies becomes either the target of dispute or the cause of particular celebration. I’m lucky enough to rarely experience dispute and, for that reason, also see little reason to celebrate. Gay’s the air I breathe: it’s perfectly whatever. - “同性恋”这个词并不一定意味着什么，但有时却意味着什么。当它所暗示的差异成为争论的目标或者成为特别庆祝的原因时，它就变得意义重大。我很幸运，很少遇到争执，因此，也没什么理由庆祝。同性恋是我呼吸的空气：完全随便。
It was a regular Sunday in October in São Paulo – sunny and chilly. My original plan was to walk towards Paulista Avenue – one of the city’s main thoroughfares – to see the exhibition ‘Afro Atlantic Histories’ at MASP (the São Paulo Art Museum), which was closing that day. The survey – included 450 works by 214 artists from Africa, the Americas, the Caribbean and Europe, and spanned five centuries – promised to weave together multiple strands of Afro-Atlantic visual culture and provide a starting point for discussing colonial legacies and identity politics. Brazil was one of the last major countries in the world to abolish slavery and has the largest African-descendent population in the planet – it’s about time these pressing issues appear in art programmes. On my way to the show, I bumped into a demonstration in support Jair Bolsonaro – the far-right politician who was, after this writing, elected President by a wide-margin – that stretched for a few blocks of the avenue’s extension. Speakers, placed in front of the museum, amplified his delusional and repulsive speech and blasted it toward anyone entering MASP. I suspect this was deliberate. - 这是十月Paulo的一个晴朗的星期日，阳光明媚，寒冷刺骨。我最初的计划是步行到保利斯塔大街——这个城市的主要通道之一——去看那天即将关闭的MASP（圣保罗艺术博物馆）的“非洲大西洋历史”展览。这项调查包括了来自非洲、美洲、加勒比和欧洲的214位艺术家创作的450幅作品，跨越了五个世纪。调查承诺将把非洲-大西洋视觉文化的多条线交织在一起，为讨论殖民遗产和身份政治提供一个起点。巴西是世界上最后一个废除奴隶制的主要国家之一，也是这个星球上非洲后裔人口最多的国家之一——这些紧迫的问题应该出现在艺术节目中了。在我去演出的路上，我碰巧遇到了支持Jair Bolsonaro的示威游行，Jair Bolsonaro是极右派政治家，在写完这篇文章后，他以很大的优势当选总统。站在博物馆前面的发言者放大了他的妄想和令人反感的演讲，并向任何进入MASP的人猛烈抨击。我怀疑这是故意的。