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
Interview
26 篇
Candice Breitz, TLDR, 2017, 13-channel video installation. Courtesy: Goodman Gallery, Johannesburg, Kaufmann Repetto, Milan, KOW, Berlin - Candice Breitz，TLDR，2017, 13通道视频安装。礼貌：Gooman画廊，约翰内斯堡，Kaufmann Repetto，米兰，KOW，柏林
‘Wiggle’ Galerie Greta Meert 7 September – 20 OctoberUnfurling across Galerie Greta Meert’s three floors, ‘Wiggle’ showcases the work of 15 international artists who use sculpture to interrogate the notion of materiality beyond simple denotation. Donald Judd uses stacks and blocks to create non-referential works of art while Terry Adkins assembles locally found objects such as musical instruments and reintroduces them as resounding installations. Katinka Bock experiments with natural materials, using clay ceramic liquid and webbing to articulate thoughts on history and geography and on the other end of the spectrum, Diane Simpson’s work transfigures clothing, furniture and industrial architecture into sculptures that are an observation of the architectonic vs. the domestic. Countering painter Ad Reinhardt’s modernist joke that a sculpture is a thing that you ‘bump into while you back up to look at a painting’, the group show pushes back against convention, giving the form more leeway than tradition has previously allowed. - “摇摆”
I wish we didn’t have to read Chris Kraus, and this week I read her aloud to my students, quoting passages on Kate Newby, Henry Taylor and Channa Horwitz, all from her new book Social Practices (Semiotext(e) 2018). Kraus’s criticism is generous and warm. But, it is written from a world I wish we didn’t live in. - 我希望我们不必读克里斯·克劳斯，这周我向学生大声朗读了她，引用了凯特·纽比、亨利·泰勒和钱娜·霍维茨的新书《社会实践》(Semiotext(e)2018)中的段落。但是，它是从一个我希望我们没有生活的世界写成的。
‘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。
The Paris-based designer’s drawings for the 2018 campaign celebrate the beauty of line and formThis year’s marketing campaign for Frieze Fairs celebrates the beauty of line and form, with drawings by Paris-based designer Ronan Bouroullec for Frieze London and a focus on drapery in classical art at the National Gallery, for Frieze Masters. - 基于巴黎的设计师为2018运动的绘画庆祝线条和形式的美丽今年的Freeses博览会的营销活动庆祝线条和形式的美丽，由巴黎设计师弗里泽伦敦Ronan Bouroullec的图纸和重点在古典艺术的帷幕。在国家美术馆，为弗里泽大师。
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”。
‘My struggle has not been an issue with gender; my struggle has been that I started out when there wasn’t really an established art world’ - “我的奋斗并不是一个性别问题，我的奋斗是在没有真正建立起来的艺术世界的时候开始的。”