伊斯坦布尔双年展还给许多令人振奋的艺术新星举办了独展。由希腊艺术家威尔夏科拍摄的视频卡巴来改革:恐怖展览档案给许多参观者留下了深刻的印象,在这段视频里,他从阿拉伯视角,用各种木偶演绎了改革的故事。约旦艺术家阿拉又斯的小锡兵和以色列艺术家丹尼盖尔的历史档案记录也掀起了一场热议。
It is interesting to view these works against the background of the recent political upheavalsin the Middle East and to see the unexpected interaction between Arab artists and thosefrom South America. Both areas are on the periphery of European modernity and thebiennial s artists have found much common ground over urban decay, disenfranchisementand the arbitrariness of national borders. Mr Pedrosa and Mr Hoffmann have played to theirstrengths, choosing more artists from South America than any other continent. It is atestament to the Turkish philanthropists who underwrite the biennial, particularly the Kocand Eczacibasi families, that the curators came under no pressure to include more localartists. Indeed, the stylish internationalism of the Istanbul Biennial feels entirely natural.
在近期中东政治动荡的大背景下审视这些作品是件很有意思的事情,还能乎意料的看到来自阿拉伯和南美的艺术家之间的互动。这两个地方都深受欧洲现代性影响,来参加双年展的艺术家们在城市堕落,民权丧失以及国界犯罪猖獗等方面找到了共同话题。佩德罗萨和霍夫曼凭借一定便利请到了许多南美艺术家,要多于来自其他大洲的艺术家。这次双年展也见证了赞助方土耳其的慈善精神,尤其是科克和伊扎斯巴斯两大家族,两位馆长以及许多当地的艺术家都来自这两大家族。毋庸置疑的是,伊斯坦布尔双年展的国际风格毫不做作,给人感觉十分自然。
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