Poetry
12 篇
2018 was a remarkable and remarkably exhausting year for me, mostly because I had my second child a year and a half after having my first. Now I have a one-year-old and a two-year-old, work full time and live 600 miles from New York City; my ability to visit exhibitions and attend events there (and anywhere outside of Columbus, Ohio where I live) has been hamstrung. But motherhood has opened up other channels. A significant one is the world of new books, especially books about motherhood. This was a remarkable year for texts on the subject, so long ghettoized by artists and writers alike. Reading these books was like holding up a mirror to a face that didn’t know it had a reflection. - 2018年对我来说是一个非常显著和令人疲惫的一年，主要是因为我有了第一个孩子一年半之后有了第二个孩子。现在我有一岁和两岁，全职工作，住在离纽约市600英里的地方；我在那里参观展览和参加活动的能力（以及我所居住的俄亥俄州哥伦布市以外的任何地方）一直受到阻碍。但是做母亲打开了其他渠道。其中很重要的一点是新书的世界，尤其是有关母性的书。在这一年里，有关这个主题的文章非常精彩，艺术家和作家们长期聚居在一起。读这些书就像拿着一面镜子面对着一张不知道镜子有倒影的脸。
Considerations of time and speculative worlds kept coming up this year. Carlo Rovelli’s The Order of Time (Allen Lane) helped in my latest effort to understand entropy, and the meaning of time past, present and future in any story that we may try to tell. With chapter titles like ‘The Inadequacy of Grammar’ and ‘The Scent of Madeleine’, Rovelli presents the science with welcome literary and stylistic clarity. In Richard Powers’ arboreal novel, The Overstory, shortlisted for this year’s Booker Prize, Neelay Mehta dedicates his life to a project of world-building and ‘raising decaying corpses’. Neelay is a computer programmer whose simulations grow into full-blown Earth simulacra that will allow future humans to experience the prelapsarian natural world – before it was so blithely destroyed by our species. - 对时间和投机世界的考虑今年不断出现。卡洛·罗维利的《时间秩序》(艾伦·莱恩)帮助我最近努力理解熵，以及过去时间、现在时间以及未来时间在我们试图讲述的任何故事中的意义。罗维利以“语法的不足”和“玛德琳的气息”这样的章节标题向人们展示了科学，在文学和文体上都非常清晰。在理查德·鲍尔斯（Richard Powers）的《树栖小说》中，今年布克奖（Booker Prize）的入围者，尼尔·梅塔（Neelay Mehta）把他的一生献给了一个建设世界和“养育腐烂的尸体”的项目。Neelay是一个计算机程序员，他的模拟成长为成熟的地球模拟，这将允许未来人类体验先天自然世界——在它被我们物种如此快乐地摧毁之前。
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。
On Halloween, the cavernous tunnels of the Deadhouse, a winding crypt-like space in the underground depths of Somerset House thronged with those gathered to celebrate the launch of Ignota Press. The rough brick walls illuminated purple, atmospheric music from DJs Lia Mouse and TTB, and an intoxicating heady aroma of incense filled the corridors. Founded by Sarah Shin and Ben Vickers, Ignota derives its name from the mystic Hildegard of Bingen’s lingua ignota (unknown language), with the aim of defining it as one ‘that makes possible the reimagining and re-enchantment of the world around us’ through books and events that traverse poetry, technology, and speculative mysticism. Their inaugural publication is the anthology: Spells: 21st-Century Occult Poetry, edited by Shin with Rebecca Tamás, which brings together 36 rising and established voices across 160 pages to explore themes of ‘justice, selfhood, and the transformative power of the occult.’ - 在万圣节前夕，这座死房子的洞穴隧道，是塞默塞特住宅地下深处的一个蜿蜒的地下室，与聚集在一起庆祝伊格诺塔出版社的人们聚集在一起。粗糙的砖墙照亮了来自DJS LIa鼠标和TTB的紫色、大气音乐，充满了令人陶醉的香气。IGNOTA由Sarah Shin和Ben Vickers创立，源于宾根语言IGNOTA（神秘语言）的神秘希尔德加德，其目的是通过遍历诗人的书籍和事件来定义一个“使我们周围世界重新想象和重新魅惑”的“语言”。RY、技术和推测神秘主义。他们的首期出版物是《拼写：21世纪的神秘诗歌》，由Shin和RebeccaTams编辑，该书汇集了36位在160页上崛起和确立的声音，探讨了“正义、自我和神秘的变革力量”的主题。
On Halloween, the cavernous tunnels of the Deadhouse, a winding crypt-like space in the underground depths of Somerset House thronged with those gathered to celebrate the launch of Ignota Press. The rough brick walls illuminated purple, atmospheric music from DJs Lia Mouse and TTB, and an intoxicating heady aroma of incense filled the corridors. Founded by Sarah Shin and Ben Vickers, Ignota derives its name from the mystic Hildegard of Bingen’s lingua ignota (unknown language), with the aim of defining it as one ‘that makes possible the reimagining and re-enchantment of the world around us’ through books and events that traverse poetry, technology, and speculative mysticism. Their inaugural publication is the anthology: Spells: 21st-Century Occult Poetry, edited by Shin with Rebecca Tamás, which brings together 36 rising and established voices across 160 pages to explore themes of ‘justice, selfhood, and the transformative power of the occult.’ - 在万圣节前夕，这座死房子的洞穴隧道，是塞默塞特住宅地下深处的一个蜿蜒的地下室，与聚集在一起庆祝伊格诺塔出版社的人们聚集在一起。粗糙的砖墙照亮了来自DJS LIa鼠标和TTB的紫色、大气音乐，充满了令人陶醉的香气。IGNOTA由Sarah Shin和Ben Vickers创立，源于宾根语言IGNOTA（神秘语言）的神秘希尔德加德，其目的是通过遍历诗人的书籍和事件来定义一个“使我们周围世界重新想象和重新魅惑”的“语言”。RY、技术和推测神秘主义。他们的首期出版物是《拼写：21世纪的神秘诗歌》，由Shin和RebeccaTams编辑，该书汇集了36位在160页上崛起和确立的声音，探讨了“正义、自我和神秘的变革力量”的主题。
The Projections sidebar of the 2018 New York Film Festival – home of a variety of works grouped together under the experimental/avant-garde banner – is perhaps not the first place that one would go in search of star performances in the traditional sense, but then this year’s opening night film, Gabriel Abrantes and Daniel Schmidt’s Diamantino (2018) is nothing if not an outlier. A populist underground film doing blockbuster scale on a budget, it gives Carloto Cotta, in the title role, as good a comic role as any actor has had this year. He plays a dull-minded, chisel-chested Portuguese footballer with a Cristiano Ronaldo-esque sartorial sensewhose grinning guilelessness makes him an easy manipulated mark for a right-wing junta bent on pulling off a mad science scheme that will lead to the country’s exit from the EU. - 2018年纽约电影节的《放映》侧栏——各种作品汇集在一起，打着实验/前卫的旗号——也许不是人们在传统意义上寻找明星表演的第一站，但是今年的首个夜场却开始了。M，Gabriel Abrantes和Daniel Schmidt的Diamantino Diamantino（2018）不是孤立点。这是一部在预算上制作大片的民粹主义地下电影，它让卡洛托·科塔在片名中扮演了与今年任何演员一样好的喜剧角色。他饰演一位头脑迟钝、胸膛尖刻的葡萄牙足球运动员，有着克里斯蒂亚诺·罗纳尔多式的裁缝感，露齿而笑的朴实无华使他成为右翼军政府容易操纵的标志，而右翼军政府一心想搞出一个疯狂的科学计划，导致葡萄牙退出欧盟。γ
A 1926 boozy sketch for a commission intended for the League of Nations building in Geneva was declined for being ‘too bacchanalian’ - 1926年，为日内瓦国际联盟大楼准备的委员会草拟的醉酒草图被拒绝了，因为它“太 bacchanalian”了。
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