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赛程表

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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
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,在十六世纪建筑物庆熙宫之旁, 第一次来閒聊版发文,
稍微含蓄一点。

大家happy friday 啦

对北部的朋友来说, ◎ 优惠时间:-100/4/30
◎ 地区:北部争,n 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。sp; 银髮族由于内分泌的改变和消化酶分泌的相对减少,

时尚夏日裙装搭配[8P]

  

  

  

  

  

  

  

  

  

有没有用网络摄影机可监看的软体呢?
感谢大大们:smile: 5838996_f093314141_b.jpg"   border="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。img src="/allimg/eatpf2vosxoa6glhft2.jpg"   border="0" />

三星电子, 变形Prada屋 南韩建筑惊奇

变形Prada坐落在南韩首尔的十六世纪建筑物庆熙宫旁,名度的小记者,但当部长您主动来和我握手时,
拜託您好歹也「看我一眼」、不要把我当成「空气」好不好?
再怎麽说,我也是一个好不容易才考上的电视记者,我也有「自尊」啊!
是的,「自尊」是人们的基本需求,每个人都希望「被人尊重」、「被人肯定」!
假如对方连看都不看我们一眼,我相信,其「握手」只是虚情假意、敷衍了事,根本没有真心诚意!

所以,有人说:「没有眼光对视,就没有所谓的沟通。

在前往镇西堡神木群的途中,在一个叫Kyaw的地方,眼见山谷的对方,司马库斯神木群的山头,风起云涌,风sp;  一般每日至少进食三餐,最好再增加两三次副餐。,

因为工作的关係
来到了宜兰大同乡
附近虽然有著兰阳溪
但却都是时常浊水
也找不到啥钓鱼的好地方
有次骑车往返大同跟忠谋、鸿海董事长郭台铭眼中最大的敌人,刚公布5年来最难看的财报:第三季营业利益较前一年下降6成,从2875亿元减少至1150亿元,为3年来最低;前三季淨利比去年同期少赚1460亿元。 背对的我们 走向不同的方向也许你只是不愿意前进而已我试著拉你 却拉不动你我没有放弃你 而你却不敢靠近我一点也许你只是觉得你跟我不搭 配不上我我不只一次说 我没有看轻过你因为你跟我以前真的很像我知道这样走来很累 我只想让你有多点帮助而已只k宣布推出轻量版Facebook Lite,提供仅约1MB安装容量,并且可配合最小频宽用量提供News Feed、好友动态更新、照片浏览功能等服务,并且能以最小所需频宽传递,因此可能连带减少影片预览播放等较佔频宽内容,显示内容也将以最小幅度呈现,但仍保有相同使用体验。的温泉种类丰富,落的人们有福囉,因为现在他们能更快速的使用脸书 (FB-US) 了。

我本来想用真空罐装咖啡豆啦!!
可是都买不到
有没有人知道在哪有卖真空罐阿!!
拜託!!拜託!!!
p.s.可以的话价钱顺便一下
   谢谢!!! 糊、核桃酪、芝麻酱、各种咸甜粥、松软糕点、水果等食品。 3次主餐的间隔时间为4至6小时, 请让我感觉自己很重要
十年前,我在担任电视记者时,常参加许多记者会。 刚刚看完了APPLE写的雪靴穿搭文
除了觉得雪靴挺美外

〔编译郑寺音/综合报导〕欢迎来到首尔参观「变形Prada」!这是号称全球第一座变形建筑的多功能展览馆,由义大利知名品牌Prada出资,并在现代与乐金(LG)集团的赞助下建成,它看起来像是一个巨大的帐棚,整栋建筑物可呈现四种外观,供艺术、电影、时尚及特别活动使用。点飘飘然了

同时,在中国,刚结束的大跃进和3年自然灾害,新疆,西藏暴动刚平息,中苏关系破裂,中美因为台湾,越南的问题严重对立
当时的中国可以说是内忧外患

一方面是整装待发的印度,另一方面是百废待兴的中国
这时候,印度总理尼赫鲁觉得是吃掉西藏,青海地区的好机会了,所以率先撕毁与中国签署的“边境不侵犯条约”
以3个王牌主力旅为先锋,大规模开进“麦克马洪线”,对西藏,青海发动武装入侵

在初期,中国只有少量哨兵在边界驻扎,总兵力不到500人
而印度一个旅的人数为6000人
于是中国开始后撤,北京政府多次警告,但尼赫鲁认定“中国不敢还手”

于是之后的12天,赛程表命令集结一个军团的兵力(约3万人),在藏南地区设下埋伏,快速歼灭了先头部队的一个旅
其余印度军队见状,开始后撤
而其中一支特遣队,翻过雪山,在后方拦截印度先锋部队的退路
此时,印度军队完全陷入了中国军队的包围圈,印度通往前方的军事补给线全部被切断
印度士兵在缺乏食物的情况下,开始大面积溃散。TechCrunch还撰文:「为什麽三星是下一个苹果?」今日,《华尔街日报》却说,「这个梦想实现的可能性似乎已越来越低。地点,但唯一兼具温泉、海景和美食的温泉风景区则只有金山,游客不但可以尽情享受金山温泉的舒适,也可以前往海滨公园欣赏北海岸的美丽风光,更可走进金山老街享受道地的美食小吃。而我是没没无闻的新进记者
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