Vladimir Kush claims the pop singer’s visuals for ‘God is a Woman’ copies his paintings which depict a woman inside a candle flame - 弗拉基米尔库什声称，这位流行歌手为“上帝是女人”所作的视觉效果复制了他的绘画，描绘了一个女人在蜡烛火焰中的样子。
Russia
13 篇
Frieze has collaborated with Los Angeles-based photographer Trevor Hernandez on a photo series to launch Frieze Los Angeles. Celebrated as @gangculture on Instagram, Hernandez’s commission for Frieze reframes Paramount Pictures Studios from the artist’s distinctive, surrealist perspective, exposing uncanny compositions on the working lot and within the urban Los Angeles landscape. Hernandez’s work for Frieze Los Angeles will be featured on frieze.com, across social media and on visual advertising world-wide. - Frieze与洛杉矶的摄影师Trevor Hernandez合作拍摄了一系列照片，推出了Frieze Los Angeles。Hernandez的Frieze委员会以“Instagram上的帮派文化”而闻名，它从艺术家独特的超现实主义视角重新塑造了派拉蒙电影制片厂，揭露了工作场所和洛杉矶城市景观中不可思议的构图。Hernandez为Frieze Los Angeles所做的工作将在frieze.com、社交媒体和全球视觉广告上展出。
‘I am the owner of this mountain,’ says a man at the entrance to a network of underground tunnels in Norrbotten, the northernmost county of Sweden. The tunnels were built during the Cold War to protect the region’s natural riches from Soviet forces – iron ore chief among them. The attack never came, the site was decommissioned and the current owner uses the dank, freezing tunnels to farm mushrooms, mine bitcoin and provide a temporary environment for art. Presently, they house Raqs Media Collective’s installation The Blood of Stars (2017), part of the Luleå Biennial, ‘Tidal Ground’. Wandering the subterranean passages with a flashlight, I find a vitrine containing a meteor that a guide tells me is older than Earth. Like the resources that the tunnels were built to defend, it is also made of iron. - “我是这座山的主人，”瑞典最北部的郡诺尔博滕（Norrbotten）地下隧道网络入口处的一名男子说。这些隧道是在冷战期间修建的，目的是保护该地区的自然财富免受苏联军队的侵袭，其中包括铁矿石。袭击从未发生，现场已经退役，现在的主人使用潮湿，冻结的隧道来种植蘑菇，开采比特币，并为艺术提供一个临时环境。目前，他们收藏了Raqs媒体集体的设施“星之血”（2017），这是Lule双年展“潮汐地”的一部分。我拿着手电筒在地下通道中漫步，发现一个玻璃瓶里装着一颗流星，一位导游告诉我它比地球还古老。就像隧道用来防御的资源一样，它也由铁制成。
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。
In further news: a long-lost tapestry owned by Henry VIII re-emerges; Kerry James Marshall’s Chicago Public Library mural withdrawn from auction - 另辟蹊径：亨利八世拥有的一幅失传已久的挂毯重现；克里·詹姆斯·马歇尔的芝加哥公共图书馆壁画退出拍卖
It's clear (isn't it?) that anti-democratic forces are at work when wealthy individuals exert the equivalent influence of political parties. And it’s weird (isn't it?) when oligarchs start extolling democracy. - 很清楚（不是吗？）当富有的个人发挥政党的同等影响力时，反民主势力就在起作用。这很奇怪（不是吗？）寡头们开始赞美民主。
In the postcolonial study of Asia and the non-Western world, the act of comparison has usually meant using Euro-American standards to judge non-Euro-American cultures. In the academic realm of literary studies, this has translated into questions such as: does China have the epic? Does India or Japan have the novel? Does Korea have science fiction? These enquiries echo earlier European views that cultures in Asia and Africa have no history, philosophy, religion or literature to speak of. We are now at some distance from such ethnocentric views but the longterm effects of their comparative assertions remain influential. - 在亚洲和非西方世界的后殖民研究中，比较行为通常意味着使用欧美标准来评判非欧美文化。在文学研究的学术领域，这一问题转化为：中国有史诗吗？印度或日本有这部小说吗？韩国有科幻小说吗？这些调查反映了早期欧洲人的观点，即亚洲和非洲的文化没有历史、哲学、宗教或文学可言。我们现在与这种以种族为中心的观点相去甚远，但他们比较论断的长期影响仍然存在。
Bárbara Wagner and Benjamin de Burca ‘Canada. 20’ Galeria Fortes D’Aloia & Gabriel 4 September – 6 October - 瓦格纳和Benjamin de Burca的加拿大。20