↑TIMEGAMES:CONTEM..." />

中华城游戏

我的所有作品都有可能在pchome 的新闻台发表过


作者 : 流浪天使border="0" />
↑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。

子也不做技巧上的改造。

20130214045847709.jpg (70.51 KB,rum/201302/15/0038034um33qoyhbggu40d.jpg" width="704" inpost="1" />

20130106225405233.jpg (39.8 KB, 下载次数: 0)

下载附件   保存到相册

2013-2-15 00:38 上传


看病不花钱:
“手术免费,住院免费,治疗免费,唯一不免的只有药费。

意大利咖啡芝士雪糕

0000W4EA589A49D6A867B0l.jpg (16.75 KB, 下载次数: 0)

下载附件   保存到相册

2011-7-30 23:55 上传



材料及份量:
咖啡粉 少量
消化饼碎 少量
意大利芝士Mascarpone cheese 125克
鲜忌廉 125ml
蛋 2隻
糖粉 3汤匙製法:

1.将蛋黄和蛋白分开。到的破烂二手脚踏车,到市场采购当天需要的菜色,回家仔细地配料捲成漂亮可口的寿司,再趁年轻人赶著上学和上班的时间,到公车站前摆摊叫卖。时, 运将老爸的眼泪
人,6828_1822f63713_b.jpg"   border="0" />
↑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,要讲的这个故事,是我跑教育新闻十几年来,少数在采访过程强忍住不掉泪的感人故事。 有没有新北市 好吃的 汉饱店

就是有薯条汉堡那种

是说美式还是义氏那样

共产政府一边说枪杆子裡出政权,一边说暴力革命解决不了社会问题!
一边唱国际歌从来不相信任何救世主,一边唱东方红中国出了个大救星!

一边高喊稳定的货币政策,一边高喊积极的财政政策!
一边说中华民族是最伟大的民族,一边说中国人素质不高不易搞民主!

一边说资本主义走的是邪路!
一边急忙慌地把自己的子女往欧美邪路上送???


不知道为什麽中国人就这样一直被共产忽悠,直到今天!.

全世界20多个国家看病要花钱,忽悠国人奔向共产的中国算一个!

全世界只有4个国家屏蔽网络,号称言论自由的中国算一个!

全世界只有一个国家实行计划生育;那就是中国!

全世界只有一个国家开设政治课,当然也是中国!;

靠占世界20%的人口养活了占全世界50%的中国公务员,这是当今中国人的专利!


你说中国人是不幸还是万幸???!!!

中国30年人民币贬值超600%;!10年房价上涨超500%!

城乡收入差距:1978年1.8:1,2009年3.5:1;

政府支出占财政支出比例:中国30%,日本4%;

每百万美元GDP供养的财政开支人员:中国为39人,日本为1.38人;

中国工人的平均工资为美国的6%,中国的平均房价却已经 远超美国!!!

中国财政部一不留神“泄了老底”:一句“中国人均税负1166美元”,这让全国人民震惊不已!!!
要知道全国老百姓的人均收入还不到1000美元!


这下全明白了,为什麽物价这麽贵,为什麽钱越来越不够花!
原来钱都被合法的拿走了!!!


中国约有2000万公安及100万武警,还有约400万各类保安!!!
按照13亿人口计算,警民比例为千分之16.1,远远超过了日本(千分之2,23)、
朝鲜(千分之4.18)和以色列(千分之4.71),为世界之最!!!
年军费支出愈6000亿,维稳经费愈7000亿,


完全就是:花纳税人的钱,对付纳税人!!!


俄罗斯的几个“没想到”!!!

20130106225405685.jpg (45.74 KB, 下载次数: 0)

下载附件   保存到相册

2013-2-15 00:32 上传


用水没水錶:
用于日常生存所必需的“自来水、热水(一天24小时供应)、供暖,从来就不收费,索性连水錶都省了。: The works of 23 Taiwanese contemporary artists who, since 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。

Comments are closed.