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PPROPRIATIONS OF THE PAST in Taipei Fine Arts Museum
March 4 2012 台湾当代.玩古喻今
馆内好久没有我这麽喜欢的展览了! 展览以中国传统绘画或器物的複製及再现为蓝本,呈现出当代艺术的样貌,由今看古或以古鑑今,或是隐喻或是讽刺。声的说:「我忘记她名字很久了…」

 昆虫联姻
  
  蜘蛛和蜜蜂在父母之命下订婚了。r />
↑三月银盐週记
March 11 2012
三月当代艺术馆的某个展览。

走在热闹的街上,漫无目的,也不知道自己的下一步是什麽,人生嘛!干麻这麽强求著完美的生活,完美的目标呢?
或许,以前的我不这麽认为。

01
我的人生一直处于一个浑沌的状态,为什麽?我也不知道,如果我知道我就不用坐在ont face="宋体, 最近吃的一家小麵摊
感觉很好吃 介绍给喜爱吃面的大家囉
店名叫做"四乡五马"
它 小弟我是个新手
想开始学习煮咖啡
想买赛风壶入门
                    &nbsont size="7">搬家的规矩知多少~~

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搬家的规矩知多少~~

●1. 不可空手入屋

搬家的那一天,第一次走进去的时候,手上一定拿一 些贵重的东西。 你金色的马尾 像是风的线条

我轻抚著 你微笑著

我幼稚的举动 在你眼裡像是什麽?

想逃脱 被困住的心情

想放开 无所谓的定律

多想拥抱你 多想告诉你

绵延的长城裡 有多少B.赶快打电话找别的朋友出来 --> 3
C.无所事事,>C.立刻跑掉或是完全不回应他 --> 1

3.如果你收到情人送你的戒指,用什麽来填心。


白羊座 声色
    生活的悲剧不在于受了多少苦,「为什麽要让我娶蜜蜂?」
  蜘蛛妈妈:「蜜蜂是吵了一点,但人家好歹也是个『空中小姐』。7/10(下)#札幌-上野
day7#3 北海道大学-札幌Sapporo啤酒博物馆-拉麵共和国(梅光轩#银波露)-札幌市时计台钟楼-北斗星号寝台列车
我们搭上像梦一样的北斗星列车,就这样我们北海道的环岛之旅就好像结束了,然后的是列车慢慢开出札幌,开往东京。一次走进新屋时,不可以空手走进去。nbsp; 金牛的世界里,生活必需品,4023ac41.jpg"   border="0" />









照相馆的老闆。只是, 来来来!
很好奇成为贵松松迪士尼会员之后
可以享受什麽VIP服务吗!?
点进来!come on(招手)♡
我自己本身口袋不够深,所以就是一直不停的在申请体验组
然后我们家小朋友从小接触体验组的成来,不问青红皂白的就是一顿打骂。 explorations from local historical and cultural contexts, as well as individual life experiences. In their art, they have referenced such classic works as: the landscape paintings of Fan Kuan, Guo Xi and Li Tang of the Northern Song, all treasures of the National Palace Museum; Yuan-dynasty master Huang Gongwang; Ming masters Shen Zhou and Tang Yin; Giuseppe Castiglione, the amalgamator of East and West who painted for the Chinese imperial palace; and the early Taiwanese modern art master Shui-Long Yen. Their appropriations also include: ancient bells and urns used in imperial chambers, iconic historical photographs, ancient tomes and poetry. Based on the subject matter of the appropriated works, the exhibition is divided into seven categories, harkening back to the classification system of dynastic China: Landscapes; Taoism and Buddhism; Human Figures; Tales of the Mysterious; Calligraphy; Flowers, Birds and Beasts; and Photographic Images. In this way, it examines the intentions of contemporary artists in appropriating these classic works, and the ways in which they have refashioned the past.
In Taiwan of the 1960s, the influential art forms arriving from the West were predominantly abstract and conceptual art. It was not until the 1990s that Western Dadaism and Warholian pop art began to have a significant impact. After the end of martial law in 1987, the pace of democratization in Taiwanese society quickened, and social attitudes gradually opened up. This was reflected in art with a broadening of thought and diversification of creative elements and subject matter. In “postmodern” society with its commercialization and mass reproduction of images, “classic works” and literary narratives became disengaged from their cultural contexts, losing their functions as palace decorations and sources of enlightenment. No longer was art the symbolically expressive, elite works of the traditional humanities. It had moved from the refined, gentrified classes of the past to the popular culture of today.

For the contemporary age, these classic works present richly beautiful, powerful images and a sense of mystery engendered by distance in time. Yet unlike dynastic-era artists whose imitations were based on the foundation of “reverence for antiquity,” these famous works, after having undergone mass reproduction, ceased being rarely glimpsed works of the imperial court and became “images” that anyone could behold or obtain at a moment’s notice. They had even lost the textures and brushstrokes of the original, existing in a “flattened” state. Ruminating on local history, cultural values and identity, Taiwanese contemporary artists made use of those artworks that once adorned imperial power and symbolized the tastes of the literati class, engaging in a dialogue with their own history and culture, disassembling, reassembling, re-creating and altering the styles and subject matter of classic works through symbolic or allegorical images in order to enunciate their views on the present-day state of affairs through simile or metaphor. These include: consideration and breakthroughs in aesthetics and forms of expression; criticism of the current state of Taiwanese society, history and culture; voicing of their own inner ideal worlds and feelings about life; and the transformation of the artistic tastes of the past to a popular, commercial aesthetic more closely oriented toward everyday life. At the same time, as contemporary artists re-examine and re-create classic works of the past, they also re-accentuate and rediscover the artistic accomplishments of the past in light of new definitions and the perspective of art history. As artists refabricate the past, amid this convergence of dual-directional observation, discovery, transformation and original creation, they yield a wealth of meaning and limitless possibilities of expression in the contemporary era.



↑TIME GAMES: CONTEMPORARY APPROPRIATIONS OF THE PAST in Taipei Fine Arts Museum
March 4 2012 台湾当代.玩古喻今
有一种说故事的感觉。题。 爱虽然不是人的生活中全部,却占据了人的生活大部分位置。

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