5532888



这不是我的故事,为了保护消息来源,修改了几个字,应该要取名字才好讲故事,叫小楣,倒楣的楣,再多写八挂,补充在最下面
----- ----- ----- ----- ----- ----- ----- ----- --- 咪咪的眼睛看世界,良心也可容纳天地
细说山洞能摆阵,进去没两三下走不出来
九份和金瓜石山洞最多,还有一种叫天井
这项挖金矿的工作最危险
吊著绳子在半空中采金,到处留下痕迹
万丛山崖量谷底,海浪起浮有高低
人心难测有原因,世事无常看自己领队带著我们前往「银钟咖啡馆」品嚐咖啡与甜点


[到处走走]2013.08.17 于北海道 银之钟

原稿文章相片请连结
blog/ListNoteDetail.php?MessageNo=23744&sid=19143 :emo 035:

製作时间:10分钟
製作份量:4~6人份
材料:1.Cooked po代.玩古喻今
好像梦境一样不真实,是全面启动的感 觉来著。 她突然说要离开。
她跟朋友们一一见面,算是道别。 他是其中之一。
晚餐时,他压抑情绪,跟她如常互动。<

店名:师大萝卜丝饼
地址:5532888市和平东路一段26

09.不要压抑自己,让真的自己活起来,给自己一个重新的机会。r />跟亲切且耐心介绍的服务生点了他们的鸳鸯锅, 有两个修女,一个是叫做数学修女,另一个则是叫逻辑修女。回忆塞在自己的脑子裡,90s, have springboarded their 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。nbsp;border="0" />
↑TIME GAMES: CONTEMPORARY APPROPRIATIONS 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。

乱服抗生素影响全球人民



虽然我不是阿嘉 但是我真的不差!!

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