2017年2月28日 星期二

任航 (Ren Hang),

Ren Hang, who took his life February 23, 2017, was an unlikely rebel. Slight of build, shy by nature, prone to fits of depression, the 29-year-old Beijing photographer was nonetheless at the forefront Chinese artists’ battle for creative freedom. Like his champion Ai Weiwei, Ren was controversial in his homeland and wildly popular in the rest of the world. He said, “I don’t really view my work as taboo, because I don’t think so much in cultural context, or political context. I don’t intentionally push boundaries, I just do what I do.”

Why? Because his models, friends, and in his last years, fans, are naked, often outdoors, high in the trees or on the terrifyingly vertiginous rooftops of Beijing, stacked like building blocks, heads wrapped in octopi, body cavities sprouting phone cords and flowers, whatever entered his mind at the moment. He denied his intentions were sexual, and there is a clean detachment about even his most extreme images: the urine, the insertions, the many, many erections. In a 2013 interview VICE magazine asked, “there are a lot of dicks … do you just like dicks?” Ren responded, “It’s not just dicks I’m interested in, I like to portray every organ in a fresh, vivid and emotional way.” True though that may be, the penises Ren photographed were not just fresh and vivid, but unusually large, making one wonder just where he met his friends.

In the same piece, Hang also stated, “Gender isn’t important when I’m taking pictures, it only matters to me when I’m having sex,” making him a pioneer of gender inclusiveness. Young fans still eagerly flock to his website and Facebook, Instagram, and Flickr accounts. His photographs, all produced on film, have been the subject of over 20 solo and 70 group shows in his brief six-year career, in cities as disparate as Tokyo, Athens, Paris, New York, Copenhagen, Frankfurt, Vienna, and yes, even Beijing. He self-published 16 monographs, in tiny print runs, that now sell for up to $ 600. TASCHEN’s Ren Hang is his only international collection, covering his entire career, with well-loved favorites and many never-before-seen photos of men, women, Beijing, and those many, many erections. We take solace remembering Ren’s joy when he first held the book, shared by his long-time partner Jiaqi, featured on the cover.
BBC 中文網(繁體)


 Image result for Stefano Boeri

Stefano Boeri Architetti | VERTICAL FOREST


Vertical Forest is a model for a sustainable residential building, a project for metropolitan reforestation contributing to the regeneration of the environment and urban biodiversity without the implication of expanding the city upon the territory. ... On flat land, each Vertical ...

Stefano Boeri Architetti | Projects


Studio of Architecture I Milan.

Stefano Boeri - Wikipedia


Stefano Boeri is an Italian architect and urban planner, born in Milan in 1956, founding partner ofStefano Boeri Architetti. He earned a master's degree in ...
Career · ‎Bibliography · ‎References · ‎External links



(德國之聲中文網)"意大利建築設計師博埃里(Stefano Boeri)正在醞釀一場城市規劃革命。"瑞士《商報》(Handelszeitung)本週二(2月28日)發表的一篇文章開頭這樣寫道。作者接著詳細介紹了主人公博埃里,這位有名的設計師代表作是米蘭的兩座高樓大廈"垂直森林"(Vertical Forest)。他的理念是,生活在城市的居民應該與樹為鄰。這兩座孿生高樓分別有110米和76米高,上面佈滿了樹木和矮灌木。樹木可以吸取大量的二氧化碳,並且給鳥類和昆蟲提供棲身之地。

作者Gabriel Knupfer接著寫道:"今年2月,博埃里在也飽受霧霾困擾的南京推出類似的項目。至2018年,南京也會建成兩座綠色大廈。共種植23種樹木,超過2500棵灌木。這些植物每年會從污染空氣中吸收25噸二氧化碳,每天都能生產60公斤氧氣。接受英國《衛報》採訪時,博埃里還指出,大量因交通產生的細小粉塵也會被吸收。"



題為"應對空氣污染中國看好綠色大樓"(Luftverschmutzung: China setzt auf grüne Hochhäuser)的文章接著寫道,5年前,博埃里在上海開了一間公司,因為中國是他發展建築事業的最佳之地:"霧霾對中國社會來說是一個迫在眉睫的社會問題。同時中國擁有蓋建摩天大廈的資金和執行力。所以博埃里被委託建立一個100到200幢大樓的小城市也不足為奇。按照計劃,廣西柳州的這個森林城市將會在2020年竣工。"


Diego Velázquez 1599-1660

  1. "'Velázquez Portraits: Truth in Painting' is a small show that packs a big punch."— The Art Newspaperhttp://met.org/2lkKUE1
    The exhibition has been extended through March 14. Plan your visit today.

    The art historian suggests that Velázquez's former slave may have painted…

  2. Diego Velázquez
  3. Diego Rodríguez de Silva y Velázquez was a Spanish painter who was the leading artist in the court of King Philip IV and one of the most important painters of the Spanish Golden Age. Wikipedia
  4. DiedAugust 6, 1660, Madrid, Spain
  5. NationalitySpanish
  6. PeriodBaroque
  7. SpouseJuana Pacheco (m. 1618–1660)

BBC Radio 4 轉貼自 BBC Radio 3
"If I were alone in the National Gallery with two strong men and a screwdriver…"
The art critic has died, aged 84.

五彩瓶 天價標去porcelain wucai fish vase sells for 'impossible' amount at Birmingham auctioneers

Vase sells for 'impossible' amount at Birmingham auctioneers

The vaseImage copyrightFELLOWS
Image captionOne bidder flew in from Japan for the auction, Fellows said

A Chinese vase has sold for 450 times what it was estimated to fetch at an auction house in Birmingham.
It was thought the intricately-painted porcelain wucai fish vase might be sold for up to £1,800, but instead it went for £810,000.
Auctioneers, Fellows, in the Jewellery Quarter, said the sum broke their house records, thanks to two rival bidders.
The original guide price for the vase came from the vendor, the auction house said.
One bidder flew in from Japan for the auction and there were a "multitude" of telephone bids with people competing online from outside the UK, including from China and Japan.
Fellows said the item was initially believed to be a 20th Century copy of a vase fashioned during the reign of Emperor Jiajing of the Chinese Ming dynasty who ruled from 1521 to 1567, hence the initial estimate of its price.
Mark Huddleston, senior specialist, said he was "delighted" with the sale and predicting the final price "became impossible".
"This vase was consigned via a Chinese client.
"Initial research when cataloguing had pointed to a number of historic precedents sold in the tens and hundreds of thousands.
"We examined the decoration to the collar and felt that it lacked sophistication of these early pieces.
"Whilst we dealt with a number of condition inquiries before the sale, little could have prepared us for the result."



五彩(中國:五彩;拼音: wǔcǎi)是中國瓷器釉五(武)的顏色。這是舊的三色釉料(的演進三才),並且是大還是三基色(紅色,綠色和黃色)。此外,下釉面藍色成幀Svarka幹鈷,這對白色(無色)由於瓷器的顏色。因此,可以說,它可以是大約(至少)六種顏色。

名稱五彩或萬曆五彩(萬曆五彩,萬曆wǔcǎi上使用)中國瓷器收購的陳述觀點明朝時間(1368年至1642年),尤其是在嘉靖 - (1522年至1566年),隆慶 - (1567年至1572年)和萬曆皇帝(1573-1619)政府時期。顏色數目可以變化。這可能表明,這個名字武才那麼大,因為排名第五具有象徵意義的重要的中國藝術

外部鏈接[ 編輯 | 編輯源]

2017年2月27日 星期一

LC FOTO: Le Corbusier Secret Photographer by Tim Benton

Posted: 23 Mar 2014 07:35 AM PDT
LC FOTO: Le Corbusier Secret Photographer by Tim Benton
Lars Müller Publishers, 2013
Hardcover, 416 pages

Le Corbusier is easily one of the top three most written about modern architects, up there with Frank Lloyd Wright and Mies van der Rohe. A search for "Le Corbusier" in Amazon's books section yields 7,070 titles; if we safely say 10-120% of those books are by or about the Swiss/French architect, that's still around 1,000 titles (not to mention the additional titles that refer to him as Charles-Édouard Jeanneret rather than his pseudonym). Narrowing down the search by year, about 50 titles on or related to Le Corbusier came out last year, including this title by Tim Benton. What these numbers show is that any new publication on the architect must find a niche that has not been explored ad nauseamLe Corbusier Redrawn and Cosmos of Light, two titles I reviewed last year, are cases in point; as is Benton's extremely detailed study of the Le Corbusier's photographic output.

Wait. Le Corbusier taking photos? While the architect's own books are populated with photographic evidence to support his arguments (think of the photos of cars alongside those of the Parthenon in Vers une Architecture), it's close to impossible to think of an example of Le Corbusier's own photos. Sketches, definitely, but not photos...except perhaps his "voyage d'orient" of 1911. And this is a sort of paradox, since in Corbu's time photography was a form of technology like cars and planes, something that he should have embraced over the old-fashioned method of drawing by hand. That he didn't says as much about Le Corbusier as it does about photography. As a tool for Le Corbusier they were more documentary-like, unable to express the subtleties of drawing or painting or his other means of expression.

Benton actually positions Le Corbusier's photos "between the professional architecture photograph and the pictorial travel picture...[belonging] to the genre of specialist photographs—those of geographers, engineers, archaeologists, and architects, who took photographs for particular reasons." Taking in the hundreds of photos collected in the book, it's hard not to agree with Benton's categorization. Corbu's photos are far from beautiful, yet they are more than simply "I was here" travel photos; there is clear intention in subject, framing and so forth, even if his techniques were not as refined as the rest of his output.

Benton's study is split into two sections, reflecting the two periods of Le Corbusier's life when he actively used cameras: "Jeanneret's First Photographic Campaign 1907-17" and "Le Corbusier, the Cinema, and Cinematographic Photography 1936-38." The first section is highly technical, focused on the cameras Le Corbusier experimented with and later abandoned, while the second section focuses on the places he went and people he traveled with more than the particulars of the cameras (though Benton does devote a few pages to the 16mm camera Corbu used). Chapters with text and thumbnail photos (second image above) alternate with larger photo spreads on black backgrounds (image above). Photos in the former are too small to grasp details, but many in the latter (enlargements of the thumbnails) are quite grainy, especially those blown up from 16mm films. Rounding out the study are QR codes prefacing many of the spreads, each one linked to short films that show Le Corbusier as enamored with the forms of nature as those of his industrial age.

鍾漢清講堂 紀念John Berger 影片附字幕(蕭新忠) 第一、第二單元

139 紀念 John Berger (鍾漢清) 2017-02-18  全片 無字幕


鍾漢清講堂 紀念John Berger 第一單元

蕭新忠 我是慢熱的人,走馬看花看書,收獲有限,聽演講(聽課)也是一樣,不容易聽進去。可是讓我細細品嘗,結果就不一樣了,日月精華都可以吸收進來。
紀念John Berger這一篇,讓我獲益頗多。

蕭新忠都分享了 1 條連結


Hanching Chung 這張美惠等三女神 vs 三模特兒的對比,我並沒有說清楚:現代廣告是沒什水準的模仿!


我特別選了一張藝術作品和現代廣告的對照做為封面,就是要凸顯,John Berger如何從新的角度引導我們欣賞藝術作品,同時要感謝主講人的用心,引導我們進入一代大師的世界。

The Art of Cy Twombly

EXPOSITION | « Si on fait une œuvre parfaite, les dieux la reprennent tandis que s'il y a une erreur, elle reste humaine. » Cy Twombly.

 美國畫家賽.湯伯利(Cy Twombly)於1970年完成的〈無題〉一作,屬於「黑板繪畫」系列作品之一,於2014年11月佳士得紐約戰後當代藝術拍賣會中,以6900萬美元的高價賣出。而一年之後,同系列的另一件1968年作品〈無題,紐約市〉則於2015年11月在蘇富比紐約戰後當代藝術拍賣會中以7000萬美元賣出,這些驚人的拍賣高價,讓人不難想像若在今天要舉辦一場藝術家的回顧展,將需要花上多少的心力與費用?光憑這點,即是不能錯過巴黎龐畢度中心於2016年11月底開幕的賽.湯伯利回顧展的理由之一。
 賽.湯伯利的同名展覽結集了百件以上的作品,展品從全球各地借出,從美國休斯頓(Houston)的梅尼勒私人典藏、費城美術館與紐約現代美術館(MoMA)到德國漢堡車站國家藝廊、科隆路德維希美術館與慕尼黑布蘭德霍斯特美術館、義大利尼古拉.戴爾羅希修基金會、卡蜜拉.奈斯比特私人典藏、法國亞維農市朗伯典藏美術館、巴黎路易威登基金會與皮諾私人典藏。而位於紐約的賽.湯伯利基金會更為了本展出借了許多重要的畫作與所有的攝影作品,使得展覽規模前所未見,特別的是,這個展覽也具有相當特殊的私人情懷。策展人尤納斯.史托斯夫(Jonas Storsve)在展覽專文中,即談到他於2011年如何透過藝術家的伴侶尼古拉.戴爾羅希修的來信得知他病危入院的消息……,而藝術家信中友善的字句更讓他理解到:「湯伯利事實上期望他有一天可以舉辦一場回顧展,而在五年後的今天,這個期望最終得以成真。」

Edwin Parker "Cy" Twombly, Jr. (/s ˈtwɒmbli/; April 25, 1928 – July 5, 2011[1]) was an American painter, sculptor and photographer. He belonged to the generation of Robert Rauschenberg and Jasper Johns but made the specific choice to live in Europe (Italy) after 1957.


I am reaching out to certain website and blog owners that publish content in line with our mission to make all the world’s art accessible to anyone. We hope to continue promoting arts education and accessibility with your help. 
Our Cy Twombly page provides visitors with Twombly's bio, over 90 of his works, exclusive articles, and up-to-date Twombly exhibition listings. The page also includes related artists and categories, allowing viewers to discover art beyond our Twombly page. We would love to be included as an additional resource for your visitors via a link on your page. --Matt D


The Art of Cy Twombly

Cy Twombly, whose spare, childlike scribbles and poetic engagement with antiquity left him stubbornly out of step with the movements of postwar American art even as he became one of the era's most important painters, died on Tuesday in Rome. He was 83. Mr. Twombly with his painting "1994 Untitled (Say Goodbye, Catullus, to the Shores of Asia Minor)," in 2005.

Mr. Twombly's career slyly subverted Abstract Expressionism, toyed briefly with Minimalism, seemed barely to acknowledge Pop art and anticipated some of the concerns of Conceptualism. At left, his 1953 piece "Tiznit."

"Untitled (Funerary Box for a Lime Green Python)" from 1954. The critic Robert Hughes called Mr. Twombly "the Third Man, a shadowy figure, beside that vivid duumvirate of his friends Jasper Johns and Robert Rauschenberg."

"Nini's Painting" from 1971. Mr. Twombly, a tall, rangy Virginian who once practiced drawing in the dark to make his lines less purposeful, steadfastly followed his own program and looked to his own muses — often literary ones, like Catullus, Rumi, Pound and Rilke. He seemed to welcome the privacy that came with unpopularity.

"Untitled" from 2005. In the only written statement Mr. Twombly ever made about his work, a short essay in an Italian art journal in 1957, he tried to make clear that his intentions were not subversive but elementally human. Each line he made, he said, was "the actual experience" of making the line, adding: "It does not illustrate. It is the sensation of its own realization." Years later, he described this more plainly. "It's more like I'm having an experience than making a picture," he said.

"Untitled" from 2007. After completing a work, in a kind of ecstatic state, it was as if the painting existed but Mr. Twombly himself barely did anymore: "I usually have to go to bed for a couple of days," he said.