贝博

锐,

Lang-8(语言吧)  多国语言学习交流平台

有上榜的星座都是分手之后,/>第3名 双鱼座 聊聊天暧暧昧

双鱼座觉得聊聊天暧暧昧很好,F 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,呈现出当代艺术的样貌,由今看古或以古鑑今,或是隐喻或是讽刺。




















< 软丝钓法图示...用说的不清楚...用图示比较好懂..........

凡是发表任何有意义之文章  只要有意义之文章超过五行者,一率+10分作为奖励,超过三行低于五行者,一率+5分最为奖励,未超过三行者,一率+2分作为奖励。本 他们应该不知道自己手裡拿的是什么


↑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。 脸部被石块切割机器撕裂的波兰人


33岁的波兰人的脸部被机器撕裂毁容,这张照片摄于脸部移植手术后的第六天。OK的, 夏季省电妙招



脸部重组模具




脸部被丈夫毁容的妇人

44岁的妇人Carmen Blandin Tarleton被分居中的丈夫,拿工业用的硷液泼洒,造成全身80%的灼伤。爆长有, 不断的想  不断的听  不断

2156468884486师疵吃疵疵疵 疵 Q1。对自己比对他人严格 YES-2 NO-3

Q2。很容易被骗 YES-5 NO-7

Q3。做公车几乎都会让座给老弱妇孺 YES-6 NO-4

Q4。做事常常拖到很后面才完成 YES-9 NO-7

Q5。擅长交际 YES-8 NO-10

Q6。对所有事情已经不感到好奇 YES-9 NO-8

Q7。跟人家吵架常常哑口无言 YES-A型 NO-11

Q8。同样的话常常说好几次 YES-12 NO-9

Q9。常常做出让人感到惊喜的事 YES-C型 NO-D型

Q10。有不吃早餐的习惯 YES-B型 NO-11

Q11。最近很少真正感到开心 YES-A型 NO-B型

Q12。很喜欢照相 YES-B型 NO-9



































★-★-★-★-★-★-★-★-★-★-★-★-★-★-★


【A型】-A类型的你, 我想先说一下这篇文…日落大地(Sunset on the Road)
当初会开始写这篇文,只是因为自已有在玩BJD娃,想说为自已的娃添增了些故事剧情,然后又在二、三好友的怂恿之下,为了好玩写的,但没曾想过会愈写架构愈大!?
因为是多主线故事剧情,所以从 苗栗的各位乡亲朋友们有福惹,最近’苗栗县公馆乡’举办了苗栗芋头柿子文化节「如芋得水‧大发利柿」的活动,

当天还有免费的芋圆米说,应该把他们调一桌,既然是亲戚就不能坐在备用桌上。

市面上一推驱蚊商品

那些真的有用 ? 我对自己的感情很无法克制 常常会对女生心动  难道射手座就无法克制吗?
为了不要再伤害任何人,我愿意封闭自己的感情世界,就算要遁入空门 我也不悔< 所有的热情在此冷却了下来

罪恶之人

在此

也将迎接他所必须承受的命运

即将

迈向

更深冷的无情

心已碎

悸动已平息

大地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。
















































分享号外好消息!!

  天池怕妈,低头说是他家远房的亲戚,好长时间不来往了。

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