Mara Sartore: This year you participated in the Athens Biennial, without setting foot in your hometown, can you tell us about how you managed this? - 玛拉·萨托雷：今年你参加了雅典双年展，没有踏足你的家乡，你能告诉我们你是如何管理这个项目的吗？
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In a series of comedies that started with 2004’s Anchorman: The Legend of Ron Burgundy and culminated in its 2013 sequel, Anchorman: The Legend Continues, director Adam McKay has established himself as America’s high poet of white guy imbecility. Those two films, plus three feature-length comedies in between, all starred Will Ferrell as some sort of insufferable idiot whose obliviousness to his own destructive tendencies bordered on magical. McKay could have extended the series indefinitely, replacing one cinematic dumbass with the next, but in 2015 he opted to direct The Big Short, a complex and didactic drama starring Ryan Gosling about the 2008 financial crisis. McKay may have switched genres, but he didn’t change his true subject matter: the film is as much about clueless white men and their destructive mistakes as were any of Ron Burgundy’s adventures. If a philosophical question emerged from The Big Short, it was whether it is possible – or worthwhile – to distinguish between stupidity and criminality. As Gosling’s character challenges a room of hedge funders: ‘Tell me the difference between stupid and illegal and I’ll have my wife’s brother arrested.’ Gosling’s finance dude settles the matter himself: ‘There’s some shady shit going down [in the housing market], but it’s fuelled by stupidity.’ - 在一系列以2004年的《主持人：勃艮第传奇》开始，并在2013年的续集《主持人：传奇》中达到高潮的喜剧中，导演亚当·麦凯（Adam McKay）确立了自己是美国白人低能诗人的地位。这两部电影，加上中间三部长篇喜剧，都是威尔·费雷尔主演的，他是一个难以忍受的白痴，对自己的破坏性倾向的遗忘近乎于魔法。麦凯本可以无限期地扩展这个系列，用下一个取代一个电影中的笨蛋，但在2015年，他选择了导演一部由瑞安·戈斯林主演的关于2008年金融危机的大型短剧，一部复杂的说教剧。麦凯可能改变了风格，但他并没有改变他真正的主题：这部电影讲述的是愚蠢的白人和他们的破坏性错误，就像罗恩·勃艮第的冒险一样。如果一个哲学问题从大短句中出现，那就是区分愚蠢和犯罪是否有可能——或者值得。当戈斯林的角色挑战一屋子对冲基金的投资者时：“告诉我愚蠢和非法的区别，我会逮捕我妻子的弟弟。”戈斯林的金融专家自己解决了这个问题：“（房地产市场）有一些可疑的事情要发生，但这是由愚蠢推动的。”
The year 2018 marked 40 years of reform and development in China. However, a gloomy reality has overshadowed the democratic aspirations that many within and outside of the country had associated with the implementation of a market economy. Initially reform and opening up served as an engine to transform China from an impoverished state to a formidable economic power. Yet the process of de-politicization following the student movement in 1989 set the ball rolling on a singular economic track. In 2018, mirroring the rise of right-wing strongmen across the world, everyday life and intellectual discussion have been increasingly subject to tightened surveillance and controls as President Xi consolidates his own powerbase. - 2018年是中国改革开放40年的一年。然而，令人沮丧的现实掩盖了国内外许多人与实行市场经济有关的民主愿望。最初，改革开放是中国从一个贫穷国家转变为一个强大经济力量的引擎。然而，1989年学生运动之后的去政治化进程使经济走上了一条奇特的轨道。2018，反映了右翼强人在世界各地的崛起，日常生活和知识分子的讨论越来越受到严密的监视和控制，因为席总统巩固了自己的权力基础。
I saw my first Robert Morris sculpture eight years ago, around the time I moved to New York. I had recently finished with school and the city was already upending my life. I didn’t know who I was or who I wanted to be. Every object and surface, face and friendship trembled with possibility. Contact with anything or anyone threatened to utterly transform me. This was worrisome. How could I change if I didn’t quite know myself? The Morris sculpture – pinned to a wall in a stranger’s apartment in Chelsea – was grey, velvety, untitled, its date unknown to me; it hung alongside other huge, expensive sculptures and paintings, mostly by artists whose names I recognized from museums. This was not a home where I had ever expected to have dinner, but a friend of a friend was house sitting, so I was invited over for noodles. - 八年前，当我搬到纽约的时候，我看到了我的第一尊罗伯特·莫里斯雕塑。我最近完成了学业，这个城市已经改变了我的生活。我不知道我是谁，也不知道我想成为谁。每一个物体和表面、面孔和友谊都因可能性而颤抖。接触任何威胁要彻底改变我的人或事。这令人担忧。如果我对自己不太了解，我怎么能改变呢？莫里斯雕塑——钉在切尔西一个陌生公寓的墙上——是灰色的、天鹅绒般的、无标题的，它的年代对我来说是未知的；它和其他巨大的、昂贵的雕塑和绘画一起悬挂，大多数是由我从博物馆里认出的艺术家创作的。这不是我原本想吃晚饭的家，但是朋友的一个朋友在家里坐着，所以我被邀请过来吃面条。
We came down like the rain, hard and angular. I landed in Houston in the midst of a vicious storm, not long before air traffic control grounded all departing flights. This wasn’t in the forecast, I thought – but then the airwaves that weekend were full of shaky predictions: a big Blue Wave was coming, and it was going to break first in Texas. I had arrived for the opening preview of the new Menil Drawing Institute, four days before the US midterm elections. - 我们像雨一样下着，又硬又角。我在一场猛烈的暴风雨中降落在休斯敦，不久，空中交通管制就停止了所有起飞的航班。我想这在预测中没有，但是那个周末的电视广播充满了不稳定的预测：一个巨大的蓝浪即将来临，而且它将在得克萨斯州首开纪录。我是在美国中期选举前四天来参加新梅尼尔画研究所的开幕式预览的。
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。
Earlier this year, Crown Prince Mohammed Bin Salman (MBS), the effective ruler of Saudi Arabia, went on a diplomatic tour of the United Kingdom and the United States. His aim was to rebrand the Saudi monarchy as an enlightened, reforming institution, and to attract the Western investment that his country desperately needs if it is to end its dependence on oil. On his trip, MBS not only shook hands with Donald Trump and Theresa May, but also met with Facebook’s Mark Zuckerberg, actor Dwayne ‘The Rock’ Johnson, and Disney CEO Bob Iger. Media coverage, on the whole, was credulously positive, as the supposed young reformer was held up as the new bright hope for Saudi Arabia, and perhaps for the Middle East itself. - 今年早些时候，沙特阿拉伯的有效统治者穆罕默德·本·萨尔曼王储（MBS）对英国和美国进行了外交访问。他的目标是重塑沙特君主制为一个开明的、改革的机构，并吸引西方投资，如果沙特要结束对石油的依赖，西方国家就迫切需要这些投资。在访问期间，MBS不仅与唐纳德·特朗普和特丽莎·梅握手，还与Facebook的马克·扎克伯格、演员德韦恩·约翰逊、迪斯尼的CEO鲍勃·伊格尔会面。总的来说，媒体报道是令人信服的积极的，因为这位所谓的年轻改革者被视作沙特阿拉伯，或许还有中东的新希望。
Wes Anderson and Juman Malouf’s show opens in Vienna; conspiracy theories at the Met during the Midterms and Shanghai’s psychedelic cat - 韦斯·安德森和朱曼·马卢夫的秀在维也纳开幕；大都会中期赛期间的阴谋论和上海的迷幻猫
The US artist has been told to pay €135,000 after copying a 1985 advertising campaign by the French fashion label - 这位美国艺术家在被法国时尚标签复制了1985的广告宣传活动后被告知要支付135000欧元。