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艺术家档案, 2017.04.25 Tuesday, 文 /

Chim↑Pom:所以明天也还会再见吗?

“办奥运会的决心,下了没有?为什么不敢干这件事情呢?”——邓小平,1990 >> 更多
艺术家档案, 2015.05.19 Tuesday, 文 /

(English) Lin Jingjing: Tomorrow Was Wonderful

对不起,此内容只适用于English。 >> 更多
艺术家档案, 2020.09.23 Wednesday, 文 /

(English) The Maschkera
A story inspired by Han Feng’s new work

(English) Jumping and whooping, men swept by in costumes covered in fabric petals, their bodies thawed into fluttering colors. It took Andy a moment to realize that their swollen, red features and black, hollowed eyes belonged to wooden masks. >> 更多
Interviews, 2018.12.20 Thursday, 文 /

(English) Jens Faurschou interview –
Munch in Copenhagen, Rauschenberg in Beijing

(English) Combining acumen, chutzpah and luck, Jens Faurschou became Denmark’s foremost gallerist and art dealer. It is a story, that along the way, has involved Picasso, Miro, Munch, Robert Rauschenberg - and Swedish banks. >> 更多
Interviews, 2018.07.05 Thursday, 文 /

人造场地

无论在艺术家的创作过程中或观众的观看体验中,电脑界面仍旧停留在被对象化的他者位置,对他者的好奇和旁观却不慎暴露了艺术家功利主义的倾向性,阻碍了他对这种主客体性质转变的现象背后更深层原因的挖掘。 >> 更多
Interviews, 2018.03.22 Thursday, 文 /

张玥
“山鹰之歌”
杨画廊

展览由“开火”开始,它像是战争河流中的鹅卵石,162张靶纸铺设了整场展览的路径。 >> 更多
访谈, 2017.05.05 Friday, 文 /

与劳伦斯·何浦林对谈

自1996年在上海的一间酒店大厅中开设香格纳画廊以来,劳伦斯成为了许多艺术家的良师益友,他们包括丁乙、曾梵志、余友涵、赵半狄、徐震和鸟头。讽刺而毫不夸张说,虽然何浦林的瑞士血统时常被人提及,但却如周铁海所言,“劳伦斯一直以来都是我们的人”。 >> 更多
艺术家档案, 2015.10.04 Sunday, 文 /

(English) Raimund Girke – White Space Time

(English) Raimund Girke’s medium was white: as erasure, as layer, as edge, as foreground, background, gesture, fog, lens and matter...whiteness is not simply a counterpoint of contrast and scale, but the elemental background...
>> 更多
艺术家档案, 2015.09.11 Friday, 文 /

(English) ASIA NOW – PARIS ASIAN ART FAIR SHINES A LIGHT ON THE CONTEMPORARY ASIAN ART SCENE

(English) ASIANOW is an exceptional fair that allows its audience to freshly reconsider contemporary Asian art. >> 更多
艺术家档案, 2015.06.24 Wednesday, 文 /

(English) From Memory to Archive: Remembrance and Amnesia in the works of Liu Ding

(English) Row after row of sleek black telephones on white plinths, each one indistinguishable from the next; we are reminded at first of the cold, impersonal, mass-produced objects of a factory, devoid of human traces. >> 更多

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