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访谈, 2020.07.04 Saturday, 文 /

亚历克斯·卡茨访谈

已过九旬的亚历克斯·卡茨(Alex Katz)以其清晰分明的视觉和绘画风格闻名于世。我们通过电话与卡茨聊了聊他的影响、最近的展览以及他所有作品中最重要的一位模特——他的妻子和长达60年的灵感缪斯,艾达(Ada)。 >> 更多
访谈, 2018.07.24 Tuesday, 文 /

(English) GLENN LIGON
Debris Field / Notes for a Poem on the Third World / Sun Negro
Galerie Chantal Crousel, Paris

(English) For his first solo exhibition at Galerie Chantal Crousel, Glenn Ligon will present a new series of large and small silkscreen and ink marker paintings, based on abstracted letter forms; two figurative neon installations inspired by an uncompleted project of Pier Paolo Pasolini; ten oil stick and coal dust paintings on paper quoting a Gertrude Stein text. >> 更多
Interviews, 2018.03.20 Tuesday, 文 /

对于乔治·康多作品之极限视野的探索

(English) George Condo’s first solo show in Hong Kong, “Expanded Portrait Compositions”, opens at the Hong Kong Maritime Museum. Organized by Sprüth Magers and Skarstedt, it comprises major new work by one of the most influential living painters. >> 更多
艺术家档案, 2017.05.03 Wednesday, 文 /

慷慨经验—— 重访费利克斯·冈萨雷斯-托雷斯

为何要在今天重访费利克斯·冈萨雷斯-托雷斯?我们能从他的创作中提炼什么样的身份与审美之间的细微关系,来帮助我们促进社会变革呢? >> 更多
艺术家档案, 2016.08.18 Thursday, 文 /

在路上:詹姆斯·本宁的景观电影

一种类似的恍惚诗学在詹姆斯·本宁(James Benning)的电影中发挥效力,正如文学界的斯泰因一样,本宁达到了一种空间的时间化(a temporalization of space)以及时间的空间化(a spatialization of time)。 >> 更多
艺术家档案, 2016.03.03 Thursday, 文 /

(English) Galerie Perrotin New York
ERRÓ
“Paintings from 1959 to 2016”

(English) Galerie Perrotin, New York is pleased to present the first exhibition dedicated to Icelandic artist Erró (Ólafsvík, 1932), a prominent figure of Pop art and Figuration Narrative in postwar Europe, with an ensemble of 15 paintings made between 1959 and 2016. >> 更多
艺术家档案, 2015.09.18 Friday, 文 /

(English) Opening GAVIN TURK I SECUNDINO HERNÁNDEZ I ERIK VAN LIESHOUT – September 16, 2015, 7 PM

(English) It’s a natural and useful process. As the career of an artist becomes consolidated, his work is subject to a discourse that facilitates knowledge of the same and determines its popularity. >> 更多
艺术世界, 2011.03.11 Friday, 文 /

拜拜! 盖•尤伦斯 向尤伦斯当代艺术道别

(English) So Guy Ullens is leaving the UCCA, selling his collection, lamenting failures and withdrawing from China. Does it really matter? Is UCCA such an important institution? Should a foreign-owned museum be attempting to define the debate about contemporary art in China? Or is Ullens just running away from failure? >> 更多