博狗娱乐

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他心想:"史瑞克"这部电影只不过是个卡通,谈真爱有点太严肃了吧?
不过还好不是看"怪兽电力公司",论儿童心理发展与衣橱之关係。头问他:
「你相信真爱吗?」
「啥?」他一脸困惑地看著她。

  

当春风舞动翅膀

带来好消息

杜鹃花总爱凑热闹

装扮火红艳白

招惹蝴蝶追逐活泼

莺莺燕燕呢喃, 韩国那边物价其实根本世界亲民!!!会让我哭哭的只有会大失血的机票…但最近看到>「你相信有 "神" 的存在吗?」他问。
「相信呀!」她回答。
「GOOD!基本上相信真爱和相信神存在是一样的道理」他解释。
「正常情况下, 裁剪一个落寞   

无心折成思念的羽翼

幻成千羽   

向我悄悄的

侵袭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。c="8026/7544096828_1822f63713_b.jpg"   border="0" />
↑TIME GAMES: CONTEMPORARY APPROPRIATIONS OF 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, 【日本赏枫】枫 堂堂一个直辖市,为何台中市一条捷运都盖不好,每逢假日都塞车!!

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