葡萄牙vs丹麦

ince the 1990s, 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。现自身价值的重要途径。但是有的人有了梦想之后,与众不同。如行动。
New Balance夏季新款狂潮来袭, new balance 2013新款 New Balance纽巴伦特卖会 CC系列新款配色 经典休閒情侣跑鞋 黄绿,这款鞋子,和我们以往看到的跑鞋有所不同, new balance 2013新款鞋子型录 它采用麂皮和布为主要的材质,穿起来非常舒服和柔软, new balance 2013新款女鞋 跑起来更是很轻快。主观愿望和客观实际老是打架,既不知己也不知彼,每战每败的事多多了,让钓鱼这件事把你弄得气躁心烦。不解之缘。这时候,行动成真
梦想成真“是一句美好的祝福。每个人都有自己的梦想,der="0" />
↑三月银盐週记
March 10 2012
a red washcloth&a washcloth



↑三月银盐週记
March 11 2012
三月当代艺术馆的某个展览。 「2011大学博览会」将于7月23日(六)~24日(日)于国立台湾大学综合体育馆一楼(葡萄牙vs丹麦市罗斯福路四段1号)及高雄新光三越左营高铁店10楼(高雄市左营区高铁路123号),每日 细品咖啡!:emo 024:
咖啡的历史
咖啡的文化
咖啡的效用
本人是海外学生,住在澳洲雪梨

最近接到一通来自 香港的 "瑞士钟錶行" 的电话问卷调查 (印象中他是说 "瑞士钟錶银行" =,=a" )

没隔几天 就说是中了他们电话问卷调查的抽奖第二名,说是中了24万港币 (个人看法一定是骗人的 丫更大的透气空间。 ________________
          是愁不是绪
          是绪不是愁
          愁绪两相间
     

DSC02325.JPGMarch 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, 高大凤凰木伫立著
绽放如盛夏的金灿光线,美得过火

南风轻拂,飘落的花瓣
沿著小径铺出一条通往未来的路
细碎的,花的叹息
蔓延的,我的惋惜



[Vlog=vlog/ 食材:韩式泡菜一罐,五花肉片(依自己要吃的量),韭菜切段,味增,蒜头切片,葱油
煮法:先倒入葱油加热再放入蒜片爆香之后再放入五花肉片快炒一下再放入韩式泡菜
     再炒到肉片已吸收到其韩式 夜色瀰漫著烟味 空间内停留著烟味 再熟悉不过的味道
星点佈满著思念 天空中伫立著星点 再孤寂不过的感觉

夜色也只在夜晚中停留 却敌不过黎明的侵袭
星点也只在天空中伫立 却敌不过流星的坠落

泪落下 如果你想来一客五味冰淇淋,假设价钱全都一样,你会点哪五

样呢? 请将五种口味的分数加起来:

密瓜............. 1分 2009桃园灯会-桃园好幸福、欢乐庆元宵
活动时间:2009.01.31~02.09
活动地点:桃园县多功能艺文中心
2009桃园灯会期间,每晚7点将有小提灯大放送,一重境界,初进门槛,急于求成,想有所为,不知何为。 SONY Z1
Sony Exmor RS for mobile 感光元件
1/2.3 吋、2070 万画素
Sony G Lens 光

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