Born in Cuba and educated in Puerto Rico, Gonzlez-Torres made minimalist conceptualworks that were aesthetically innovative and politically sophisticated. Like its muse, theIstanbul Biennial is thoughtful rather than aggressive or sensationalist. Activistsspoon-feed messages but artists create works with layered meanings, explains Mr Pedrosa.
冈萨雷斯托雷斯出生于古巴,求学于波多黎各,他创造的抽象主义作品兼具美学的创新性和政治的复杂性。就像它的缪斯一样,伊斯坦布尔双年展的风格是沉思的,而不是咄咄逼人或是多愁善感的。政治活动家向人们强制性的灌输信息,然而艺术家创造意义层次分明的作品,佩德罗萨如是解释道。
The biennial also has an intelligent structure. There are five group shows around the mainthemes that inspired Gonzlez-Torres s worklove, death, abstraction, contested historiesand territories. Each group show occupies a large grey room and acts as a hub for a clusterof solo shows featuring 50 artists, all in smaller white rooms. The elegant solution to thespaces stands in contrast to the names of the group shows, which repeat Untitled in anawkward manner. Nevertheless, it is moving to walk through the room called Untitled named after the artist s longtime lover, Ross Laycock, who died in 1991 ofAids-related causes, like Gonzlez-Torres himself.
双年展的空间安排也十分讨喜。有五组展出冈萨雷斯托雷斯的作品主题爱,死亡,抽象,历史纷争以及领土纷争。每一组展出都占据了一间灰色的大屋子,这些展出也是50个风格各异的艺术家的独展中心,所有的独展在一间小一点的白屋子里进行。和空间的完美分布形成对比的是展出的名字,这些展出都是清一色用一种尴尬的方式强调着无题这个名字。不过,你还是情不自禁的想去逛一逛这件名叫无名的房间,无名以冈萨雷斯托雷斯的最爱,罗斯雷科克命名,像冈萨雷斯一样,他也于1991年死于艾滋病。
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