What do we gain from straining to decipher a language at the edge of our understanding? In struggling to find the right word to say? Continuous Wave (2019), Emily Mast’s project for the RU.in.ART lounge at Frieze Los Angeles — floats these questions like bubbles, offering brief moments of reflection and connection. - 在我们理解的边缘，通过努力去破译一种语言，我们能得到什么？在努力寻找合适的词语时？连续波（2019年），艾米丽·马斯特为洛杉矶中楣的Ru.in.Art酒廊设计的项目——像气泡一样漂浮着这些问题，提供短暂的思考和联系时刻。
礼仪
32 篇
Patrick Charpenel, Courtney J. Martin and Franklin Sirmans will join Frieze New York 2019An unprecedented number of museum leaders will collaborate on new themed sections and artist commissions at the 2019 edition of Frieze New York. - Patrick Char.l、Courtney J. Martin和Franklin Sirmans将加入Frieze纽约2019博物馆。数量空前的博物馆领导人将在2019年版的《Frieze New.》上就新的主题部分和艺术家委员会进行合作。
Like its namesake, ‘The Oscar Wilde Temple’ is not shy of the limelight. It comes clad in extravagant florals. Gilding abounds, lights sparkle and the décor is nothing if not de trop. - 就像它的名字一样，《奥斯卡王尔德寺庙》并不羞于成为众人瞩目的焦点。它穿着华丽的花束。到处都是镀金，灯光闪闪发光，装饰品如果不是装饰品就没什么了。
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。
今年冬季，阚萱和金小罗两位在韩国及中国，当然亦是全球艺术界中独特、甚至略有一些 “怪异”的女性艺术家，受邀在同样“独特”的广东时代美术馆的展览中相聚。她们的作品在形式上大相径庭，却以各自的方式互相呼应，共同探寻了艺术家和客观世界的关系这一根本的问题，即艺术家作为一个既沉默又尖锐的观察者，观测人类的身体和行为是如何被这个纷乱嘈杂的世界所改变。
A week after the opening at the Royal Academy of Arts of ‘Oceania’ – an exhibition spanning the histories of the Pacific, which marks 250 years since Captain Cook’s first voyage to the region – I cradled a karetao in a nondescript London building that belongs to the British Museum. The wood was long-smoothed by hands, its markings deeply etched. In its materiality are a few clues as to where it may have come from; its easy curves are inscribed with meaning. I have seen a karetao described in English as both a ‘puppet’ and an ‘articulated marionette figure’, but the former is insufficient and the latter unnecessarily verbose. This linguistic exercise hints at a wider problem of how inadequate language can be at translating cultural nuance. - 在“大洋洲”皇家艺术学院开幕一周后，我在属于大英博物馆的一座不具名的伦敦建筑中摇篮。大洋洲皇家艺术学院是横跨太平洋历史的展览，标志着库克船长首次航行250年。木头被手抚平了，它的痕迹深深地被腐蚀了。其实质上是关于它可能来自何处的一些线索；它的简单曲线刻有含义。我看到一个用英语描述的卡雷托既是“木偶”又是“有铰链的木偶”，但是前者是不够的，后者不必要地冗长。这种语言学练习暗示了一个更广泛的问题，即语言在翻译文化细微差别方面可能存在多大的不足。
Twitter users have been quick to think of alternative nicknames, including ‘the cotton bud’ and ‘the tadpole’ - Twitter用户很快就想到了别名，包括“棉花芽”和“蝌蚪”。
‘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。
Artist Michelle Hartney has created #MeToo-inspired wall labels to call out the abusive actions of art history’s icons - 艺术家Michelle Hartney创建了一个由Myoto启发的墙面标签，以唤起艺术史图标的辱骂行为。