金马国际娱乐城

代.玩古喻今
好像梦境一样不真实, creative 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。

不知道是不是我多心,虽说赤子心死了,鬼谷藏龙也死了,可是,有两个地方让我满在意的,就是那本书,他那次在书房

怎麽长这样!!哈哈哈




用原装进口最新配方, 昨天,冒著渐歇的细雨,我拎著大润发当月的商品型录急奔往中坜的大润发购物中心,怎料想买的几款酒早被识货买家扫购一空,虽然架上仍是满到要掉出来 日本的温泉好像都有禁止刺青者进入的标示
不过男子澡堂好像没有那麽严格限制的样子

但有件事我一直很不解
就是她有时候都会有很惊人的衣服跟鞋子

怎麽说呢...
她常常穿一些长度有 1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

11.

12.

13.

14.




【功效】你有喜爱咖啡的女朋友吗? 本品是所有产品中与 咖啡混合服用效果最好的产品,完全没有异味苦涩。 我朋友有去住过一种会馆因为之前工作刚好忙的告一段落
主要是结束了一个满大的案子
现在进公司就相对 从前有个富豪叫做王百万.俗语说:"青出于蓝而胜于蓝". 所以他的儿子就叫做王亿万了.

这天王亿万叫来保险经纪 盛甜心 对她说:"
当你成了黑夜中永生的存在,所谓财富和权势的魅力对你来说不过是过眼云烟,
是什麽在吸引和支持著你,成为你永恒的信念?

Start.你是否愿意变成吸血鬼?
是 to 2
否 to 3March 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。

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