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。
Glasgow
在五个不同大小的独立建筑中，新的空间结合了许多常见的艺术建筑元素——两个画廊、一个餐厅、商店、图书馆、教室——以及它自己独有的地方，例如新近重新粉刷的1831年的天文望远镜；经过修复的1818年由爱丁堡建筑师威廉·亨利·普莱费尔William Henry Playfair设计的古典希腊风格城市天文台的东部门廊，它生动地提醒人们这座建筑为什么存在——望远镜主要用于通过观测天空来精确设定时间。现在的目标则是将艺术带入一个新的语境，或者正如视觉艺术共和所说：“公共体将自己定位为一种新型的天文台，邀请公众通过当代艺术的镜头观察周围的世界。”
The Scottish filmmaker and poet Margaret Tait made films that hum with humanity. Her gently persuasive work is both intensely personal and engagingly social, the apparent simplicity of her everyday imagery belying her dogged commitment to the act of looking. Tait, who died in 1999, was born in Kirkwall, Orkney 100 years ago on 11 November 1918, and between 1951 to 1998 created more than 30 films. The exhibition ‘Stalking the Image: Margaret Tait and her Legacy’ is part of a series of events across Scotland marking the centenary of her birth. Featuring nine of her films that vary in length from two to 32 minutes, also included at Glasgow’s Gallery of Modern Art are vitrines filled with archive material such as typed letters, hand-drawn story boards and the filmmaker’s 16mm Bolex camera. - 苏格兰电影制片人和诗人Margaret Tait制作了充满人性的电影。她温柔而有说服力的作品既具有强烈的个人魅力，又具有吸引力的社会性，她日常形象的明显朴素背离了她对观看行为的坚定承诺。泰特于1999年去世，100年前1918年11月11日出生于奥克尼的柯克沃尔，1951年至1998年间创作了30多部电影。“跟踪图像：玛格丽特·泰特和她的遗产”展览是苏格兰各地一系列纪念她诞辰100周年活动的一部分。她拍摄的9部电影长度从2分钟到32分钟不等，同样包括在格拉斯哥现代艺术画廊（Gallery of Modern Art）中，其中有玻璃杯，里面装满了档案材料，如打字信、手绘故事板和电影制作人的16mmBolex相机。
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 ；
In the third of a series, timed with the specially-themed November-December issue of frieze, we asked five artists, curators and writers, whose work has been involved with the challenges of decolonizing culture, 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. - 在系列文章的第三期，以特别主题的11月至12月的弗里兹杂志为时间点，我们邀请了五位艺术家、策展人和作家，他们的作品涉及非殖民文化的挑战，来讨论从展览和公共场所了解他们思想的项目。更多的无形和瞬态网络，其效果往往比记录的感觉，虽然不那么重要。
‘Those who are blocked off from my messages, or do not like them, think I am a fool, or hate me.’ Reading these words of Ivor Cutler’s (1923–2006) – written in a non-cursive, naïf hand, in a small exercise book that’s displayed in a vitrine at Goldsmiths Centre for Contemporary Arts in London – I’m reminded of parties back in Glasgow at the home of an overzealous Cutlerite friend. Pretty regularly, at a certain point in the evening, she’ll interrupt the regular flow of dance tunes to broadcast Mr. Cutler (as he insisted always on being called), pronouncing, in his thick Scots brogue – spoken deadpan, or else sung in a barrelling, music-hall baritone and set to a wheezing harmonium – his nonsensical aperçus and instructions. ‘Peel your mother from off the ceiling’. ‘My hat beats a warning to the flies’. ‘You cannot erase a love-letter with a nipple, no matter how rubbery’. More often than not, the room quickly clears. - “那些被我的信息封锁的人，或者不喜欢我的人，都认为我是个傻瓜，或者恨我。”读一下Ivor Cutler（1923-2006）的这些话，这些话是用非草书、天真的手写的，写在一本小练习本上，这本小练习本在戈德史密斯当代艺术中心的玻璃瓶里展出。伦敦-我想起了在格拉斯哥的派对，在一个过分热情的克丽丽特朋友的家里。经常地，在晚上的某个时候，她会打断舞蹈曲调的正常流动，播放卡特勒先生（正如他一直坚持要被称呼的那样），用他浓重的苏格兰方言发音，或者用桶唱，用音乐厅里的男中音演唱，然后开始喘息。口琴——他那毫无意义的表和指示。“把你妈妈从天花板上剥下来。”“我的帽子敲打苍蝇的警告。”你不能用乳头擦掉一封情书，不管它有多橡皮。通常情况下，房间很快就会打扫干净。
With authors, curators and musicians recently denied entry, the UK is fast painting itself as a cultural pariah - 由于作者、策展人和音乐家最近拒绝进入，英国正在迅速将自己描绘成一个文化贱民。
Cancelled events and financial woes have left neighbours such as CCA and its cultural tenants in a state of limbo - 被取消的事件和金融危机使CCA及其文化租户等邻国陷入了困境。