Sheikha Mayassa十分热衷于将那些一个个响当当的名字引入多哈。Murakami作品展于2010年在凡尔赛宫举办过后,多哈也为这位日本艺术家的作品举办了一场回顾展出。Hirst作品展今年四月在伦敦泰特陈列馆举办过后,也将于明年第一次登陆卡塔尔这个国度。
In order for the QMA to be more than a rich girl s plaything, Sheikha Mayassa will have to dobetter than put expensive foreign baubles on display in her homeland. She needs to be farmore innovative and focused in choosing between the hundreds of exhibitions the QMA getsoffered. Last year s showing at the MIA of German Baroque from Dresden made no sense. CaiGuo-Qiang s evocative exploration, now at Mathaf, of the ancient links between China andthe Gulf is new and original.
要想使QMA不仅仅是一个富家女的玩物,Sheikha Mayassa若只是将国外的一些花哨玩意儿搬进卡塔尔是远远不够的。她必须更具创造性,并在对被提供至眼前的成百上千展会举办计划进行挑选时更加注意。像去年MIA举办的德国巴洛克作品展就是没有任何意义的。而现在Mathaf所举办的蔡国强作品展则是别出心裁的,它对中国和波斯湾各国之间的古代渊源进行了探索。
An absolute monarchy like Qatar is a hard place in which to encourage the daring,irreverence and subversiveness that is the hallmark of a truly artistic nature. Noteveryone in Qatar is persuaded of art s importance. The local blogosphere is full ofsuggestions that the country would do better with a Formula One racetrack or anotherfootball stadium. And the recent sudden announcement that Qatar University would switchto teaching in Arabic instead of English is a sign that conservative nationalists have realpower here. In her introduction to the Tate s Hirst catalogue, Sheikha Mayassa writes thatArteven controversial artcan unlock communication between diverse nations,peoples and histories. The years ahead will test her resolveQatar s too.
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