首页
外语
计算机
考研
公务员
职业资格
财经
工程
司法
医学
专升本
自考
实用职业技能
登录
外语
Virtually every day of the year sees another art biennial opening somewhere in the world. The role of these exhibitions is to sh
Virtually every day of the year sees another art biennial opening somewhere in the world. The role of these exhibitions is to sh
admin
2015-08-29
44
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’ 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.
It can be inferred from the passage that
选项
A、most art biennials are contemptible.
B、art biennials are encouraged to open.
C、art biennials of high quality are rare to see.
D、there are too many bargains in art biennials.
答案
C
解析
推断题。根据选项巾的art biennials定位至首段。第三句指出大部分艺术双年展的现状令人失望,末句指出伊斯坦布尔双年展的成功很不寻常,说明成功的双年展很少见,可以判断[C]符合文意。
转载请注明原文地址:https://jikaoti.com/ti/A0YYFFFM
0
专业英语八级
相关试题推荐
WhichofthefollowingisNOTwrittenbyKateChopin?
AmericanLiteratureAliteratureistherecordofhumanexperienceandpeoplehavealwaysbeenimpelledtowritedowntheirimpr
That"behindthethinmarblefrontwereconcreteandsteel"suggeststhat______.Thefollowingwordsorphrasesaresomewhatcr
A、violenceB、compromiseC、forearmsD、policeA
Themeaningsof"science"and"technology"havechangedsignificantlyfromonegenerationtoanother.Moresimilaritiesthandif
A、PoliceprovideddetailinformationsaboutthegirlB、Tobagohasapopulationof2millionC、HomicideincreasedinTobagoD、To
Speakingtwolanguagesratherthanjustonehasobviouspracticalbenefitsinanincreasinglyglobalizedworld.Butinrecentye
MyclassatHarvardBusinessSchoolhelpsstudentsunderstandwhatgoodmanagementtheoryisandhowitisbuilt.Ineachsessio
InCanada,FrenchandEnglisharecoequalofficiallanguageexceptin______,whereFrenchisthesoleofficiallanguage.
ThemetropolitanpoliceforceofLondonisunderthedirectcontrolof______.
随机试题
Acrosstheriver________.Manypeoplecomeheretoseeit.
A.胆盐B.胆固醇C.胆色素D.磷脂胆汁中有利胆作用的是
药物中杂质检查的基本原理A、药物与杂质氧化还原性质的差异B、杂质与一定试剂反应产生沉淀C、药物与杂质对红外光吸收性质的差异D、药物与杂质对紫外光吸收性质的差异E、药物与杂质溶解行为的差异葡萄糖中糊精检查
【2007年第140题】在结构图中,安装螺栓表示方法,下列哪一种形式正确?
某小型喷漆企业依据国家安全风险管控的相关要求,对毛坯清洗、喷色漆、色漆烘干、罩光喷漆、罩光烘干、检验下线和包装工艺流程等喷漆工艺环节,进行危险、有害因素辨识。根据《生产过程危险和有害因素分类与代码》(GB/T13861),关于危险、有害因素分类的说法,
不属于销售者的产品质量责任和义务的是()。
甲公司在生产主产品A的同时,还生产了副产品B。该副产品需要进一步加工才能对外出售。2019年2月共发生联合成本90000元。B产品进一步加工发生的成本为6000元。当月生产A产品1000千克全部完工入库(无期初在产品),生产B产品200千克。已知B产品市场
()是构建社会主义和谐社会的最根本保证。
下列有关文学常识的表述,不正确的一项是()。
Completethenotesbelow.WriteNOMORETHANTHREEWORDSforeachanswer.Corporatecrimehasbeenignoredby:a)the【L33】______e
最新回复
(
0
)