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
David Zwirner
7 篇
In further news: Italian government cracks down on art crime; and screening live arts performances fails to diversify audiences - 另辟蹊径：意大利政府严厉打击艺术犯罪，现场放映艺术表演未能使观众多样化 ；
Richard Wilson 20:50, 1987, installation view. Courtesy: © the artist and Hayward Gallery; photograph: Mark Blower - 理查德·威尔森20∶50，1987，安装视图。礼貌：艺术家和海沃德画廊；照片：Mark Blower
Karin Schneider, Sabotage, 2017, installation view CCA Wattis Institute, San Francisco. Courtesy: the artist - Karin Schneider，破坏，2017，安装视图CCA WATIS研究所，旧金山。礼貌：艺术家
On a recent train journey, I overheard a woman, inspired by an especially picturesque landscape, remark to her travelling companion: ‘I should get a photo of that...where’s my phone?’ There is nothing immediately unusual about this in 2018. Though in no history of photography that I’ve ever encountered has Alexander Graham Bell’s name appeared. Despite this, for the past decade, the most common implement used to make photographs is indeed a telephone. And the perception is that the camera is in the phone, not the other way round. Nobody ever says, ‘I need to make a call, where’s my camera’. - 在最近的一次火车旅行中，我偶然听到一位受风景特别优美启发的妇女对她的旅伴说：“我应该拍张照片……我的手机在哪里？”在2018，这件事没有什么不寻常的地方。虽然我从未见过摄影史，但亚历山大·格拉汉姆·贝尔的名字却出现了。尽管如此，在过去的十年中，最常用的制作照片的工具实际上是一部电话。感觉是相机在电话里，而不是反过来。没有人会说：“我需要打个电话，我的相机在哪里。”
In further news: former Venice Biennale director calls biennial model ‘stale, if not dead’; photographer Shahidul Alam charged over ‘provocative comments’ - 另一则新闻：前威尼斯双年展导演称双年展“过时，如果没有死”；摄影师Shahidul Alam指责“挑衅性评论”。
How the late artist's transparent sculpture rethinks the relationship between figure and groundTransparency excited Ruth Asawa. ‘You can see right through most of my sculpture,’ she claimed, ‘so that no matter what you see, you can always also see through it.’ The majority of Asawa’s three-dimensional hanging wire works, for which she is now best known, are, indeed, transparent, their woven wire loops loosely catching one another to produce a relatively open, and somewhat uneven, mesh. - 已故艺术家的透明雕塑如何重新思考图形与地面透明度之间的关系使Ruth Asawa兴奋不已。“你可以看到我雕塑的大部分，”她声称，“所以不管你看到什么，你都能看穿它。”阿萨瓦的三维挂线作品的大部分，她现在是最为人所知的，实际上是透明的，他们的编织线松散地循环了。相互之间产生一个相对开放的、有点不均匀的网状物。