奇异的空间匹兹堡] — 2008.05.08

在这个宇宙我们孤单么外星人究竟存不存在呢我们我们自己是世界中的陌生人么?” 这些发问听起来像是给一个科幻活动做推销,而这也正是第五十五届卡耐基国际展的标语策展人Douglas Fogle也以大卫·鲍伊的1971年的经典歌名为此次大展命名人们不禁想起Roswell、锡帽天堂门但一切并非如此尽管有些奇怪但它仍不失为北美地区最值得珍视的一场当代艺术阶段展

周五早来到匹兹堡参加开幕活动在博物馆的入口处我看到了一张招贴画上面是一只瘦骨嶙峋的霸王龙邀请参观者

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乡愁记忆与虚构的现实

由策展人付晓东策划的乡愁展览是一次对记忆的放逐与捕捉当时间的脚印愈加模糊的同时记忆提醒了我们要去生活中捕捉什么美与否哪怕是影子甚是虚无我们也应去留住它

此次展览的参展艺术家众多作品的表现形式多样展览大体可分为三部分刚入展厅时会被张培力的影像装置所吸引几个电视屏幕分别播放着80、90年代时的舞曲很容易使人和贾樟柯的世界联系在一起时间的长河似乎把我们拉回了那久远的年代中国正处于流变的过程当中慢慢从生产型社会转向消费型社会在这一巨大的变化当中我们所处的生活方式价值判断人生观等等都在经历着一次劫难般的考验在这迅猛的变化中人们的失落与迷茫等感受看上去是那么的失措艺术家正是凭借着个人经验将这些流亡般的感受在艺术的形式下洗礼并悄悄地将自己内心的秘密开启

沿着展厅往里走何岸的作品看看大哥能帮帮她吗?》是一组装置作品霓虹灯拼贴而

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英语角 angle

Michael J. Hatch on Curatorial Dilemmas at the ICCA and UCCA

Earlier this month, two shows opened in two of Beijing’s larger and higher-profile contemporary art venues, both located in a dug-up 798 Art Zone now in the throes of pre-Olympic construction. Community of Tastes at the Iberia Center for Contemporary Art and Stray Alchemists at its neighbor the Ullens Center for Contemporary Art take rather divergent views on what an “international” show is and ought to be here in Beijing, the capital of Chinese contemporary art. Both also offer sites of reflection on two critiques constantly leveled upon the Chinese art world: that its curatorial concepts are weak; and that work by Chinese artists is somehow shallower, less mature than, or derivative of work by their foreign counterparts.

The newly opened Iberia Center for Contemporary Art (or ICCA) is a private art center with a grand vision, seeming to spring from a similar mold to the UCCA

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