首页
外语
计算机
考研
公务员
职业资格
财经
工程
司法
医学
专升本
自考
实用职业技能
登录
外语
Virtually every day of the year sees another art biennial opening somewhere in the world. The role of these exhibitions is to sh
Virtually every day of the year sees another art biennial opening somewhere in the world. The role of these exhibitions is to sh
admin
2015-06-14
64
问题
Virtually every day of the year sees another art biennial opening somewhere in the world. The role of these exhibitions is to showcase contemporary art, attract affluent tourists and stimulate local culture. Most biennials are a sprawling mess and the worst look like commercial art fairs studded with brand-name trophies. However, those that succeed in making sense of some aspect of global culture can be both enlightening and memorable. This year’s Istanbul Biennial is a case in point. Poignant, relevant and intellectually engaging, it has managed to create a coherent exhibition out of works by 130 artists from 41 countries a rare achievement.
The Istanbul Biennial is held in two huge former warehouses on the banks of the Bosporus. Untamed, the buildings would force viewers into a monotonous marathon of spectatorship. But the biennial’s curators, Adriano Pedrosa and Jens Hoffmann, enlisted the help of a master of exhibition design, a Japanese architect called Ryue Nishizawa, who has introduced new energy into the space by creating rooms of different sizes and marking off "exterior" spaces with corrugated-steel walls.
As curators, Mr. Pedrosa and Mr. Hoffmann have also adopted an effective premise. Rather than using a theory or theme as a unifying rubric, the biennial has a muse Felix Gonzalez-Torres, an artist who died in 1996 and who was selected posthumously to be the official American representative at the 2007 Venice Biennale.
Born in Cuba and educated in Puerto Rico, Gonzalez-Torres made minimalist conceptual works that were aesthetically innovative and politically sophisticated. Like its muse, the Istanbul Biennial is thoughtful rather than aggressive or sensationalist. "Activists spoon-feed messages but artists create works with layered meanings," explains Mr. Pedrosa.
The biennial also has an intelligent structure. There are five group shows around the main themes that inspired Gonzalez-Torres’ work love, death, abstraction, contested histories and territories. Each group show occupies a large grey room and acts as a hub for a cluster of solo shows featuring 50 artists, all in smaller white rooms. The elegant solution to the spaces stands in contrast to the names of the group shows, which repeat "Untitled" in an awkward manner. Nevertheless, it is moving to walk through the room called " ’Untitled’(Ross)" named after the artist’s longtime lover, Ross Laycock, who died in 1991 of Aids-related causes, like Gonzalez-Torres himself.
The curators are right not to let themselves be overly distracted by the latest thing: work made yesterday is not always the art that is most relevant to the present. They have chosen to include a range of historical artworks by women who they believe deserve greater recognition. For example, they have installed photo collages from Martha Rosler’s "Bringing the War Home" series, which were made during the Vietnam War between 1967 and 1972, but which still resonate because of America’s continuing presence in Iraq and Afghanistan.
The Istanbul Biennial also gives solo shows to a number of exciting emerging artists. Many visitors were impressed with "Cabaret Crusades: The Horror Show File", a video by Wael Shawky, an Egyptian artist, in which marionettes act out the story of the crusades from an Arab point of view. Also much discussed were "Tin Soldiers" by Ala Younis, a Jordanian, and "Historical Record Archive" by Dani Gal, an Israeli artist.
It is interesting to view these works against the background of the recent political upheavals in the Middle East and to see the unexpected interaction between Arab artists and those from South America. Both areas are on the periphery of European modernity and the biennial’s artists have found much common ground over urban decay, disenfranchisement and the arbitrariness of national borders. Mr. Pedrosa and Mr. Hoffmann have played to their strengths, choosing more artists from South America than any other continent. It is a testament to the Turkish philanthropists who underwrite the biennial, particularly the Koc and Eczacibasi families, that the curators came under no pressure to include more local artists. Indeed, the stylish internationalism of the Istanbul Biennial feels entirely natural.
The last paragraph suggests that
选项
A、Mr. Pedrosa and Mr. Hoffmann come from South America.
B、the artists are from the Arabic world and South America.
C、European modernity exerts great pressure on other countries.
D、the artists criticize urban decay and other social problems.
答案
A
解析
推断题。末段第三句指出“Mr.Pedrosa and Mr.Hoffmann have played to their strengths,choosingmore artists from South America than any other continent.”,紧接着作者又指出“It is a testament to theTurkish philanthropists who underwrite the biennial,particularly the Koc and Eczacibasi families,that thecurators came under no pressure to include more local artists.”,很显然more local artists就是指前面提到的more artists from South America.由此得出答案为[A]。
转载请注明原文地址:https://kaotiyun.com/show/CfOO777K
0
专业英语八级
相关试题推荐
Cultureshockisapainfulexperiencewegothroughwhenweencountermanynewthingsinanothercountryandwe【1】______insom
Cultureshockisapainfulexperiencewegothroughwhenweencountermanynewthingsinanothercountryandwe【1】______insom
Cultureshockisapainfulexperiencewegothroughwhenweencountermanynewthingsinanothercountryandwe【1】______insom
______isreputedastheautomobilecapitaloftheworld.
ThelocalityinMarkTwain’sworksisusuallysomewherealong______.
Whenimaginativescientistsfirstsuggestedthepossibilitythatonepersoncouldspeakdirectlytoanotheroveralongdistanc
随机试题
Lily:Hi,Jim!Howwasyourparty?Jim:It’swonderful!【D8】________Lily:I’msorry.Ihadplannedto,butIhadahighfeverth
我哭小弟,哭他在剧痛中还拿着那本航空资料“想再看看”,哭他的“胃下垂”、“肾游走”;我也哭蒋筑英抱病奔波,客殇成都;我也哭罗健夫不肯一个人坐一辆汽车!我还要哭那些没有见诸报章的过早离去的我的同辈人。他们几经雪欺霜冻,好不容易奋斗着张开几片花瓣,尚未盛开
超文本是指()
下述何种病的肺功能主要表现为限制性通气功能障碍
2020年7月北京某公司(为一般纳税人)在深圳转让某县城的一处房产,2016年2月购进价52万元,转让价65万元,该公司销售不动产选择按简易计税方法计税,以上价格均为不含税价,下列说法正确的有()。
如图所示,AD是∠FAB的角平分线,延长AF与⊙O的切线CD交于C,AB是⊙O的直径.若DE⊥AB,证明:AE.BE=AC.CF.
设幂级数的收敛半径分别为存在,则幂级数的收敛半径为().
下列关于列表框和组合框的叙述中,正确的是
Talkingaboutyourcompany谈论公司
Morethan50yearsago,thepsychologistCarlRogerssuggestedthatsimplylovingourchildrenwasn’tenough.Wehavetoloveth
最新回复
(
0
)