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
2024-12-25
0
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’s 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 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定位至第五段。第五段第二句指出“There are five group shows around the main themes that inspired Gonzalez-Torres’s work--love,death,abstraction,contested histories and territories.”这些主题是Gonzalez-Torres作品的主题,非流行主题,[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://tihaiku.com/zcyy/3883259.html
相关试题推荐
Anothermethodtoanalyzeasentencefromthefunctionalperspectiveis______,
Bynow,itshouldcomeasnosurprisewhenscientistsdiscoveryetanotherc
Bynow,itshouldcomeasnosurprisewhenscientistsdiscoveryetanotherc
Bynow,itshouldcomeasnosurprisewhenscientistsdiscoveryetanotherc
Ifaphonemeissubstitutedforanotherinawordandthesubstitutionresultsi
Virtuallyeverydayoftheyearseesanotherartbiennialopeningsomewhere
Virtuallyeverydayoftheyearseesanotherartbiennialopeningsomewhere
Today,therearemanyavenuesopeningtothosewhowishtocontinue1.______
Today,therearemanyavenuesopeningtothosewhowishtocontinue1.______
Today,therearemanyavenuesopeningtothosewhowishtocontinue1.______
随机试题
ThereisanoldsayinginEnglish;"Laughteristhebestmedicine".Untilre
Notlongago,Ihadmyfirston-linechat.Ithoughtitwouldbe【C1】______be
Researchersknowtherearemanydrugsthatcanalterourbodilyprocessesin
急性心包炎在我国最常见的病因是A.化脓性 B.病毒性 C.非特异性 D.风
符合上述结构类型的药物是 A.苯乙胺类 B.酯类 C.异喹啉类 D.苯异
辅助设施运维细则中,每年汛期前对防汛设施、物资进行(____)。例行巡视$;$特
(2020年真题)新冠肺炎疫情期间,某社会工作服务机构在社区居委会的支持下,着手
下列有关医疗保密的描述明显有误的是A.医疗保密在医疗实践中具有特殊重要的作用
甲公司适用的所得税税率为25%,税法规定,保修费用在实际发生时可以在应纳税所得额
装配式桥梁构件在脱底模、移运、堆放和吊装就位时,混凝土强度一般应大于或等于设计强
最新回复
(
0
)