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
2015-08-29
72
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 biennial has all the following features EXCEPT
选项
A、ingenious layout.
B、reflective content.
C、special perspective.
D、popular themes.
答案
D
解析
推断题。由题干中的biennial,features定位至第五段。第五段第二句指出“There are five groupshows around the main themes that inspired Gonzolez—Torres’s work--love,death,abstraction,contestedhistories and territories.”,其中并未提及“popular”的主题,所以[D]是该艺术双年展没有的特点,故为答案。
转载请注明原文地址:https://kaotiyun.com/show/NpOO777K
0
专业英语八级
相关试题推荐
WhichofthefollowingstatementsisINCORRECT?
ThemainthemeofEmilyDickinsonisthefollowingEXCEPT______.
A、violenceB、compromiseC、forearmsD、policeA
Anidealcollegeshouldbeacommunity,aplaceofclose,natural,intimateassociation,notonlyoftheyoungmenwhoareitsp
MyclassatHarvardBusinessSchoolhelpsstudentsunderstandwhatgoodmanagementtheoryisandhowitisbuilt.Ineachsessio
IntheBlackForest,theacidrainissaidtoattackallEXCEPT
IntheBlackForest,theacidrainissaidtoattackallEXCEPT
SouthKorea’sstemcellscientistshaveclonedadog,smashinganotherbiologicalbarrierandreignitingafierceethicaldebate
Thebizarreanticsofsleepwalkershavepuzzledpolice,perplexedscientists,andfascinatedwritersforcenturies.Thereisan
ThefollowingarethefoundingfathersoftheAmericanRepublicexcept______.
随机试题
硅胶受潮后显()。
X线中的最短波长指的是
科学对照原则的重要性不包括
男性,20岁,全身水肿,倦怠,意识清楚,尿蛋白(++++),血肌酐88.4μmol/L,给予环磷酰胺200mg稀释后静脉输液。护士应特别注意
关于公路工程估算、概算、预算编制办法的使用,以下说法错误的是()。
中国绘画中国绘画(简称“中国画”或“国画”)历史悠久,有与西方油画截然不同的特色。6000多年前,中国人已用线条在当时的陶器上绘出了鱼、蛙等图形。以后,又在丝织品、石窟的墙壁、宣纸等物体上用墨画画,逐步形成中国绘画的独特风格和技法。中国
我国原《义务教育法》和新修订的《义务教育法》开始实施的时间分别是()。
衡量一篇学术论文价值高低的主要依据是()。
在旅游业中,如果说游客的不文明行为是一种“陋习”,有碍观瞻不能不改的话,那么商家的宰客行为就是一种“顽疾”。如果不大力整治,不仅会妨碍旅游业的健康发展,还可能会“恶化”“癌变”,危及整个行业的生命。作者最可能支持的观点是:
FormostofAmericanhistory,businesseswereruntoprovidelivelihoodsand"reasonable"profit.Inthelastfewdecades,thou
最新回复
(
0
)