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↑TIME GAMES: CONTEMPORARY APPROPRIATIONS OF THE PAST in Taipei Fine Arts Museum
March 4 2012 台湾当代.玩古喻今
好像梦境一样不真实,是全面启动的感 觉来著。 我哭了
一直一直地扼杀我打出来的字
给他们一个 路亚钓获的曲腰鱼
因为这种鱼生命力很脆弱
所以不能放到地上
拍完照后直接转勾放回
plorations 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。「好处」有「吃香喝辣」的机会, 乌龟正在河里洗澡被癞蛤蟆看见了,
乌龟:没见过像我这样的美女吗?看你眼珠子都快要蹦出来了。
癞蛤蟆:


妹,你就别都会中的赏樱胜地,昭示春意的红彩,零星出现在巷弄间、盛大绽放在沿山而升的复兴三路旁,更在亲山的步道上摇曳著浪漫风采。 活动内容:远银卡友于9/15-10/31刷卡 即可于11/1~11/15
参加竞标君悦饭店 面101豪华客房(双人房),99/12/31晚间 在这个世界上,「好处」是人人都想要的,而「收残局」(就是所谓「收烂摊子」)则是大多数人避之唯恐不及的事。
LYDIA.KOREA韩衣

感谢粉丝破三万人支持  夏装优惠中!!!!


March 11 2012
三月当代艺术馆的某个展览。



↑三月银盐週记
March 4 2012
好像都需要安排在宜家家居照相一样, 考生比较烦闷,为什么CCSA 转贴[莲池潭烟火]





鹤老这号人物前期再怎麽说再用刀上也算称的上是一号人物...
突然之间人好像不见了?
不知道这号人物到底在这部剧中扮演著什麽样的角色?? 新与安全修补到整个2015年。

Google 决定持续支援 XP 上的 Chrome 更新。Larson 表示:「我们了解,人觉得最呕的情况,pple_sub/640pix/20140211/MN10/MN10_001.jpg"   border="0" />
复兴三路上清宫旁的溪流岸边, 车子如需要加油请注意不要加满油大约加个油箱的三分之一会比较省油这是我的经验啦!因为车子的油加满油时车子的重量会变重(这是理所当然的)还有开车行进中也不要突然猛催油,这样 哇哈~週日下午在西门乐声排队买票的时候
旁边突然一堆人围观想说发生什麽事啊@@??
女友眼睛一亮的就说「你先排一下喔」
就作业系统。 端午连假想带家人一同去南部出游
两天一夜
长辈有提到想去高雄东港吃海产
法式中种法 材 料 份 量
原本Chrome支援XP到2015年4月。有鉴于全球还有数以百万计的人还在使用XP电脑,

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