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2020.05.29 Friday, 文 /

Lê Lan Anh (1993–2020)

(English) Lê Lan Anh, also known as Lananh Le, one of the most vivid young artists in the Ho Chi Minh City art scene, died on April 19. She had been suffering from depression and it seems this was exacerbated by the social restrictions introduced to control the pandemic. >> 更多
2016.09.05 Monday, 文 /

尹亨根 |《焦赭和深蓝》,1990-1993

西蒙李画廊(伦敦)荣幸呈现韩国艺术家尹亨根绘画作品小型调研展,此次亦是韩国单色画派(Dansaekhwa)领军人物之一的尹亨根缅怀个展首次于英国举办。 >> 更多
2015.07.15 Wednesday, 文 /

講座 l 日本與中國當代藝術—1989至1993年: Olivier Krischer

過往不少就中國當代藝術在國際發展的研究,往往集中於東西文化互動,例如旅居紐約或巴黎的中國藝術家、歐美收藏家的角色、或威尼斯雙年展等「國際」展覽。本講座將另闢蹊徑,檢視日本作為最早展示中國當代藝術的重要場域。 >> 更多
2021.02.18 Thursday, 文 /

(English) Lindy Lee at MCA Australia, Sydney
Replicas, postmodernism and ‘bad copies’

(English) Grainy, velvety black photocopies of famous faces – portraits by Jan Van Eyck, Rembrandt, Ingres, Artemisia Gentileschi and others from the western art historical canon – were arranged in rows or grids. They gazed out from behind layers of acrylic paint, or wax that had been partially scraped back. >> 更多
Interviews, 2020.12.16 Wednesday, 文 /

(English) Ashley Bickerton
Seascapes At The End Of History

(English) Born in Barbados in 1959, Ashley Bickerton had a peripatetic childhood across four continents, from Guyana to Ghana, on to the Balearic Islands and England, then finally Hawaii. His upbringing followed the career of his Anglo-American father, the eminent linguist Derek Bickerton, who researched creole languages and theorised on the formation of human language. >> 更多
访谈, 2020.11.03 Tuesday, 文 /

维尔纳·巴特纳与坏画的诞生

维尔纳·巴特纳,改变了八十年代的德国狂野画家。 >> 更多
访谈, 2020.08.14 Friday, 文 /

伊丽莎白·佩顿:练习,UCCA北京

北京UCCA尤伦斯当代艺术中心呈现当代绘画领军人物伊丽莎白·佩顿中国首展。 >> 更多
访谈, 2020.04.23 Thursday, 文 /

张培力《关于强迫症的年度报告》(仁庐空间)

(English) This exhibition puts the artist on display, literally. From the inside out. You may never again have an opportunity to see so much of one individual laid bare before your eyes all at one time. >> 更多
访谈, 2020.01.10 Friday, 文 /

(English) Ji Dachun
“Rain in rain, cloud in cloud, at no one’s fingertips”
Nagel Draxler, Berlin

(English) To describe Ji Dachun as a post-internet artist, at first sight seems inadequate. His painting doesn’t appear as particularly technoid or media based. At the heart of his more recent work, however, is to create a possible syntax of his medium along the transmitted painterly forms, and so to speak “to write and continue to write” its CODE. >> 更多
访谈, 2019.11.24 Sunday, 文 /

萨拉·卢卡斯:即兴的女权

从艺术创作的角度讲,创作者需要在“普世化的女性艺术”的前提下自然而然地展示自己的视角,萨拉卢卡斯式的“即兴”创作方式即是在践行这种视角,避免自我“她者化”的存在。 >> 更多

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