首页
登录
职称英语
Virtually every day of the year sees another art biennial opening somewhere
Virtually every day of the year sees another art biennial opening somewhere
游客
2023-12-05
19
管理
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. [br] The purpose of the passage is to show that
选项
A、the Istanbul Biennial is the most enlightening and memorable one.
B、most art biennials are incoherent while Istanbul’s is an exception.
C、the Istanbul Biennial presented the current trend of art.
D、art biennial holders should learn more from the Istanbul Biennial.
答案
B
解析
主旨题。本文开篇由art biennial引出现在双年展的质量不高这一观点,之后话锋一转,指出伊斯坦布尔双年展是为数不多的优质展览,之后全文都围绕伊斯坦布尔双年展进行说明,可见首段最后一句是全文主旨所在,[B]与该句含义相符,故为答案。
转载请注明原文地址:https://tihaiku.com/zcyy/3248173.html
相关试题推荐
Ifaphonemeissubstitutedforanotherinawordandthesubstitutionresultsi
Whichofthefollowingitalicizedpartsisaderivationalmorpheme?A、Opening.B、
Whenaspeechsoundchangesandbecomesmorelikeanothersoundwhichfollowsor
Therelationshipof"Theyaregoingtohaveanotherbaby"and"Theyhaveachild
Whenaspeechsoundchangesandbecomesmorelikeanothersoundthatfollowsor
Whichofthefollowingitalicizedpartsisaderivationalmorpheme?A、Opening.B、
Virtuallyeverydayoftheyearseesanotherartbiennialopeningsomewhere
Virtuallyeverydayoftheyearseesanotherartbiennialopeningsomewhere
Virtuallyeverydayoftheyearseesanotherartbiennialopeningsomewhere
Virtuallyeverydayoftheyearseesanotherartbiennialopeningsomewhere
随机试题
()显示A盘文件()在文件中查找字符串[br]()恢复一个文件()改变口令N、J
Whenyouspeakonthetelephone,youcannotuseyaurfacial(面部的)expression
消费者购买决策过程是一个动态的系列过程,常见购买决策过程的最后一个阶段是(
某互联网单位组织体检发现,员工糖尿病的患病率较高,约有百10%左右的员工检查患有
下列不是肝肾阴虚证的临床特点的是A、胁肋隐痛 B、腰膝酸软 C、耳鸣健忘
材料: 下面是初中某位历史教师关于《三国鼎立》课堂教学内容所做的课堂小结:
以下关于寒凉药长期给药,对植物神经系统功能的影响的说法,正确的是A.尿中17-羟
Thechangeinthatvillagewasmiraculou
二巯丙醇(BAL)A.化学结构、作用与依地酸相似,但促排铅的效果比依地酸好 B
个人征信系统所收集的个人基本信息不包括婚姻信息。()
最新回复
(
0
)