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ARTZIP

The Syngenta Photography Award:‘Scarcity-Waste’
先正達攝影獎: 稀缺與浪費

Now in its second edition, the Syngenta Photography Award is an international competition which aims to stimulate dialogue and raise awareness about significant global challenges through photography. This exhibition will highlight some of the most thought-provoking and powerful responses to the ‘Scarcity- Waste’ theme – one of humankind’s greatest challenges.

Marlene Dumas: The Image as Burden
瑪琳·杜馬斯:成為負擔的圖像

Marlene Dumas is one of the most prominent painters of her generation. Tate Modern’s large-scale survey is the most significant exhibition of her work ever to be held in Europe, charting her career from the early 1970s to the present. The exhibition offers a compelling overview of her work, exploring the physical and psychological reality of human existence and the importance of the painted image. The show brings together over 100 of her most important and iconic paintings and drawings, her experimental collaged works and her most recent canvases.

Magnificent Obsessions: The Artist as Collector
瑰丽之寶:艺术家藏品

Magnificent Obsessions: The Artist as Collector is the first major exhibition in the UK to present the fascinating personal collections of post-war and contemporary artists, including Arman, Peter Blake, Hanne Darboven, Edmund de Waal, Damien Hirst, Howard Hodgkin, Dr Lakra, Sol LeWitt, Martin Parr, Jim Shaw, Hiroshi Sugimoto, Andy Warhol, Pae White and Martin Wong/Danh Vo. Their collections range from mass-produced memorabilia and popular collectibles to one-of-a-kind curiosities, rare artefacts, and natural history specimens. Curated by Lydia Yee, the exhibition presents a selection of objects from the collections of the artists alongside at least one key example of their work to provide insight into their inspirations, influences, motives, and obsessions.

Made in China: A Doug Fishbone Project
名畫中的“中國製造”

From 10 February, visitors to Dulwich Picture Gallery will be set the challenge to identify a Chinese replica hanging among the 270 Old Master paintings on display. ‘Made in China: A Doug Fishbone Project’ will explore the nature and importance of the original versus the copy and the role of art as commodity, a subject of increasing importance in our age of global mass production.

HISTORY IS NOW: 7 Artists Take On Britain

歷史再現:七位藝術家眼中的英國

In the run up to the General Election in 2015, the Hayward Gallery exhibition History Is Now will offer a new way of thinking about how we got to where we are today. Seven artists – John Akomfrah, Simon Fujiwara, Roger Hiorns, Hannah Starkey, Richard Wentworth, and Jane and Louise Wilson – have each been invited to curate sections of the exhibition, looking at particular periods of cultural history from 1945 to the present day.

Adventures of the Black Square
黑方历险记

Abstract Art and Society 1915 – 2015 1915年至2015年抽象藝術與社會 A major new exhibition tracing a century of Abstract art from 1915 to today is on show at the Whitechapel Gallery. It brings together over 100 works by 100 modern masters and contemporary artists including Carl Andre, David Batchelor, Dan Flavin, Andrea Fraser, Piet Mondrian, Gabriel Orozco, Hélio Oiticica,

About Fion Gunn
關於菲昂·戈恩

Guided by a passion for strengthening intercultural relations, Fion Gunn works as an artist curator in the international arena. She has developed a network in the UK, Ireland and China, linking with city councils, institutions and arts organisations in the Republic of Ireland as well as in Northern Ireland.

No Man Is An Island
沒有人是一座孤島

Born in Bradford, West Yorkshire 1983. Lives and works in London. Graduated from the Ruskin School of Art (Oxford University) in 2004 and Birkbeck (University of London) in 2008, Ashcroft also studied Sculpture at The Royal College of Art (London) in 2012-13 and is co-founder of the alternative art school AltMFA.

A Brief History of Curating
《策展簡史》

An interesting attempt, through a number of interviews with veteran curators Hans Ulrich Obrist drafts in this book a deliberately fragmentary history of curating, full of amusing stories and anecdotes. The form of this peculiar book is outstandingly interesting, resonating with many philosophical and literary thematics of import.

Celebrity Curators
明星策展人

The recent years in contemporary art witness a celebrity curator phenomenon, where curators with supreme rights occupy a variety of art resources and platforms, in the influence of which less and less attention is paid on the artworks and artists.

Artist-Curator Interviews
對話藝術家策展人

“I don’t think it’s about finding a new approach, but about finding a voice as a curator. If you’re a practising artist you bring a unique perspective as a maker, so it’s important to define what that is and how it can be developed as a curatorial skill, in other words – how do you convey what your ethos / passion / line of enquiry is in your practice through your curatorial work.”

第十三期 ISSUE 13
藝術策展人|Art Curator

“Curator” is a strange concept for most Chinese. In China, the word is often understood as its Chinese “equivalent” (Cezhanren) suggests—the one (ren) who plans (ce) the exhibition (zhan). However, the original meaning of “curator” as a borrowing word is never correctly conveyed in this translation. With the coming of the information era, a globalized and networking ...

ART.ZIP Issue 13

“Curator” is a strange concept for most Chinese. In China, the word is often understood as its Chinese “equivalent”
(Cezhanren) suggests—the one (ren) who plans (ce) the exhibition (zhan). However, the original meaning of
“curator” as a borrowing word is never correctly conveyed in this translation.
With the coming of the information era, a globalized and networking society is also bringing tremendous changes
in art, and the word “curator”, popular as it has already been, seems to gradually become fatigued. Its everchanging
connotation and denotation is a witness to the development of its concept under various contexts and in
different logical categories of art.
In this issue, we will explore an “artist as curator” phenomenon. Such a concept has sparkled discussions in the art
circles in recent years, which, however, fail to stage effective dialogues among individuals who engage themselves
differently in art. In my opinion, “artist as curator” represents a more democratic way of artistic expression as well
as a motivation to practice artistic autonomy—in an art world full of frameworks, artists’ autonomy aspiration may
well be a showcase of what is intrinsic in contemporary art. Therefore, we have invited artists, professional curators,
artist curators and art lovers into discussion, and adopted both inside and outside perspectives of the issue in
question to illustrate what roles curators and artist curators are playing in the world of art today.
“策展人”對大多數中國人來說是一個陌生的概念,但源於中文的拆分組合后再進行理解的文字方式,大多被人理解為“策
劃展覽的人”,然而“curator”這個舶來品的含義本源並沒有體現在“策展人”這個譯文當中。
隨著信息時代的到來,全球化和網絡化的社會也影響著藝術領域的巨大變革,“策展人”這個本來已經非常時髦的詞彙現在看
來也逐漸顯現出疲態,其內涵和外延的不斷變化也反映出了“策展人”概念在不同語境和不同藝術邏輯範疇內的發展軌跡。
在這一期的雜誌當中,我們會和大家一起來探討“藝術家作為策展人”這樣一種現象,“藝術家策展人”概念在近年來已經在
藝術界引起了不少的討論,但對於處在藝術領域不同層面的個體來說,很難形成一個有效的對話。在我看來,“藝術家策展
人”所代表的是一種更民主的藝術傳達方式和實行藝術“自治”的一種驅動力,在即以框架聳立的藝術世界當中,藝術家們
要求“自治”的願望未嘗不是當代藝術本源概念的一種體現。在這期雜誌中,我們邀請了藝術家、職業策展人、藝術家策展人
以及很多藝術愛好者們一起參與到討論當中,從縱向和橫向的範疇來展現“策展”和“藝術家策展人”之於當下藝術世界的
意義所在。

Issue 13 Hot Topic

Definding Beauty: the Body in Ancient Greek ArtBritish Museum What is Luxury? Victoria and Albert Museum Richard Diebenorn Royal Academy of Arts Henry Moore: Back to A LandYorkshire Scupture Park Richard Diebenkorn Ocean Park #27, 1970 Oil on canvas, 254 x 203.2 cm Brooklyn Museum. Gift of The Roebling Society and Mr. and Mrs. Charles ...

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Double Vision
雙瞳

In theatre, the development of technology has always inspired artists and realized creative possibilities. More than ever, performers and choreographers consider using in live performances recorded videos or utilizing cinematic means, as this is also what the audience anticipates. At the same time, however, abusive use of multi-media has also damaged many productions. Simply, it

Interview with Leo Warner, creative director of 59 Production 
專訪59製作公司創意總監里歐·華納

Interviewed by: Joanna Dong / 採訪:董一燃 Text by: Struan Robinson / 撰文:Struan Robinson Translated by: Peng Zuqiang / 翻譯:彭祖強 59Production is a pioneer design company in contemporary global context, their project such as London 2012 Olympic opening ceremony shown their talent to everyone on this planet. Whether creating stage productions, museum installations, live music shows, large scale events,

Bannerman on Live
生動的旗手

Text by: Struan Robinson / 撰文:Struan Robinson Translated by: Peng Zuqiang / 翻譯:彭祖強 The marriage between the live action of stage and the smooth cinematic experience of screen is central to Katie Mitchell’s most recent work, Forbidden Zone.  Emphasis upon the visual is a recurrent theme throughout her plays; from the illustrative projections in Some Trace of

The global stage and Digital Theatre
全球舞臺,數字劇場

Text by: Joanna Dong / 撰文:董一燃 Translated by: Syndi Huang / 翻譯:黃煥欣 While people have been repeatedly stressing that the world is becoming a global village, the concept of theatre stage, due to the popularity of the internet, has begun to blur. Nowadays, only to login in your computer or mobile devices, you are always able to

Theatre O
O 劇院

Theatre O is a difficult company to pin down: they have produced only a handful of shows in their 14-year tenure, with their artistic directors Joseph Alford and Carolina Valdes also choosing to collaborate with auteurs such as Katie Mitchell (on a children’s Christmas production of The Cat in the Hat at the National Theatre in 2009) and the Young Vic Theatre (on Juliet Stevenson’s ‘Happy Days’ in 2014), rather than solely

Interview with Joseph Seelig, Founder of Mime Festival
專訪倫敦國際默劇藝術節總監約瑟夫·塞利格

Text by: Joanna Dong / 撰文:董一燃   Joseph Seelig is co-founder and co-director of the annual London International Mime Festival. He was formerly international programme director of the Hong Kong Festival and artistic director of the New Zealand Festival. As the director of HQ Theatres and the Birmingham European (BE) Festival, Seelig also serves as consultant

Punchdrunk
暈眩劇團

Text by: Ava Davies / 撰文:Ava Davies Translated by: Zhao Kunfang / 翻譯:趙坤芳 Fusing installation art, physical and site-specific theatre, Punchdrunk are the world’s most recognisable immersive theatre company. Set up in 2000 by Felix Barrett, the troupe has garnered a huge following and spawned multiple lookalike companies which seek to emulate their global success. Though no

shunt 尚特劇團

Text by: Struan Robinson / 撰文:Struan Robinson Translated by: Shen Xinyi / 翻譯:沉心懿 “shunt” was founded by ten artists from Central School of Speech and Drama, who met in 1997 whilst doing a one year postgraduate course. Its beginnings as a collaborative effort has become the group’s defining feature, as embodied in the company’s title as a

Le Patin Libre
自由冰舞舞團

Text by: Ava Davies / 撰文:Ava Davies Translated by: Zhao Kunfang / 翻譯:趙坤芳 Le Patin Libre, which translates as ‘The Free Skate’, are the first company of their kind, coining a new form of performance which they have named ‘contemporary skating’. They completely overturn any notion of a saccharine, ‘Dancing on Ice’ style, and forgo the glitter

BFI《中國百年電影》
BFI Century of Chinese Cinema

Text by: Struan Robison / 撰文:Struan Robinson Translated by: Harry Liu / 翻譯:劉競晨 Noah Cowan, previously co-director of the Toronto International Film Festival (TIFF) put together the selection of films to be included in the program to reflect this. He writes: “We have aimed to achieve a balance between the canonical and the unjustly neglected, the historically

Rambert Dance Company
蘭伯特當代舞蹈劇團

  Text by: Michelle Yu / 撰文:余小悅 Translated and edited by: Harry Liu / 採訪整理:劉競晨 Founded by the Polish ballet dancer Maria Rambert in 1926, Rambert (previously known as Ballet Rambert before evolving to Rambert Dance Company) is one of the UK’s longest running and well-established dance companies. Whilst initially a purely ballet centred institution, they have

Fuel 燃料

Text by: Du Xinxi / 撰文:杜昕禧 ‘Produce fresh work for adventurous people by inspiring artists.’ ‘充滿靈感的藝術家為冒險者們所創作的新作品’   Fuel is a London based theatre producing company founded by Louise Blackwell and Kate McGrath in 2004, the company producing works in partnership with a lot of very exciting artists across the UK including Will Adamsdale, Clod Ensemble, not

Theatre & the Visual
《戲劇與視覺》

Text by: Li Bowen / 撰文:李博文 “By questioning the primacy of the text, in wordless, visual interruptions, the theatre draws on the legacies of the avant-garde attack on the senses. By bridging the visual and the textual in confrontational ways, theatre perhaps appears more readily as a mode of production that reflects the cultural, political, and

The Architects 《建築師》

Text by: Joanna Dong / 撰文:董一燃 Translated by: Sherry Luo / 翻譯:羅逸清 After got out of the tube station, the GPS led us to an abandoned biscuits factory. It seemed to be the right place, but we were still not quite sure, as the east London in a winter night looks far lack of security. Someone opened

Knocking the door of Neverland
桃源探夢

In recent years, immersive/site-specific theatre gains incredible popularity. Productions as such offer fresh viewing experiences and high degrees of participation for the audience. To a certain degree, these performances also have managed attracting and developing new audience, have even created buzz on online forums, effectively closing the gap between the production and the audience, going

Kneehigh Theatre 虹彩劇團

Text by 撰文:Ava Davies Translated by 翻譯: Li Ruixue 李瑞雪 Cornwall-based Kneehigh’s humble beginning as a community theatre workshop in 1980 is essentially the key to understanding them as a company. Led by artistic director Emma Rice, who started her career in Kneehigh as an actor before progressing into directing, as many of the company

DV8 背離劇團

Edited by 編輯:Ava Davies Translated by 翻譯:Li Ruixue 李瑞雪 Information Provided by 資料來源:DV8 背離劇團 DV8 are a dance and theatre troupe who look to challenge boundaries and subvert preconceptions, whether in their physical performances or in the intellectually challenging issues they grapple with. Set up in 1986 by Lloyd Newson, who remains their artistic director

Complicite 同夥劇團

Text by  撰文:Ava Davies Translated by 翻譯:Li Ruixue 李瑞雪 The company that perhaps created and are now synonymous with the concept of contemporary visual theatre are almost certainly Complicite, set up in 1983 by Simon McBurney, Annabel Arden and Marcello Magni. Complicite are probably the most influential experimental theatre establishment in the UK, setting the

The Master and Margarita
大師與瑪格麗特

Text by: Joanna Dong  撰文:董一燃 Translated by: Li Bowen  翻譯:李博文 In 2013, on stage was a production that has conquered countless audience with its unmatched darkness and unpredictable magic. It was The Master and Margarita by Complicite. Established in 1983, the Complicite is dedicated to presenting visual effects and the art of design in a

The Beauty of Silence 大音希聲

Modern physical theatre is first and foremost influenced by mime and contemporary dance. Presently, an exact, clear definition of the physical theatre is still called for. To the audience, however, the rich, unconventional body movements bring the physical theatre onto the border between contemporary dance and conventional theatre. It is exactly this unmarked border of

The Heads 《腦袋腦袋》

Text by: Joanna Dong   撰文:董一燃  Translated by: Elaine Yu   翻譯:余寧     Blind Summit was founded in 1997 in an attempt to overturn and reinvent Japanese Bunraku Puppetry. People have always visited their productions with great expectation and the plays have often caused surprise. Blind Summit does not repeat itself merely to please audiences, it

Blind Summit 盲顶剧场

Blind Summit’s mission is to reinvent the idea of puppetry and bring contemporary puppeteering to a new audience. In their own words, they say that they ‘see puppetry as a radical part of the reinvention of theatre in our time.’ Mark Down acts as Blind Summit’s Artistic Director, and has held the post since founding

Little Angel Theatre 小天使剧院

Interview with Slavka Jovanović, Interim Director, Little Angel Theatre 专访小天使剧院临时主任 斯拉夫卡约万诺维奇 The Little Angel Theatre’s modest appearance, tucked away from the London bustle in an old one hundred seater Islington hall, does little to betray its status as the UK’s premier theatrical puppetry company. It is widely seen as being the ‘Home of British Puppetry’,

40th Anniversary of Puppet Centre
傾心於“偶”40年

Interviewed by: Harry Liu  採訪:劉競晨 Text and edited by: Ava Davies  採訪整理:Ava Davies Translated by: Michelle Yu  翻譯:余小悅 註釋:本文中所提及的木偶並非只是木質偶,只是出於習慣統一使用“木偶”相稱。   Interview with the Co-founder of Puppet Centre, Penny Francis 專訪木偶中心聯合創始人潘妮·弗朗西斯 “If we don’t know the answer to your question, we know someone who does.” As a national development agency for puppetry, Puppet Centre focuses on

Not only a Puppet 無獨有“偶”

    From the moment of its animation, puppet becomes one with its master. Be it small, colossal, realistic or abstract, behind the puppet lies the inexplicable inspiration of the artist. Puppetry may be one of the oldest form of theatrical performance, related closely to religious rituals. Because of its profound history, puppetry is fascinating

The Roundhouse 圓屋劇場

Interviewed by: Joanna Dong  採訪:董一燃 Edited by: Struan Robinson& Sarah Pettitt  編輯整理:Struan Robinson& Sarah Pettitt Translated by: Chen Ting  翻譯:陳婷   Originally built in 1847 as a railway turntable engine shed, Chalkfarm’s Roundhouse is now better known for serving London’s culture and arts than its railways. Its conversion from a disused locomotive house to a

NoFit State 别扭馬戲團

Text by: Ava Davies  撰文:Ava Davies Translated by: Chen Ting  翻譯:Chen Ting   NoFit State is a circus troupe like no other. Borne as a product of Thatcherite Britain and a creative reaction to the recession surrounding them, they have been part of British culture for twenty-seven years and are a valuable asset to the

A Brief Introduction of Contemporary Circus
當代馬戲簡史

Text by 編輯整理:Struan Robinson Reference 資料來源: John Ellingsworth Translated by 翻譯:Chen Ting 陳婷 For most people the word ‘circus’ will usually call to mind classical images of red and yellow tents, performing animals, painted clowns and long chains of wagons and trailers – whilst circus may have indeed looked like that at one point in

Contemporary Circus: Physical Surprise
當代馬戲:身體的驚喜

Text by: Joanna Dong  撰文:董一燃  Translated by: Chen Ting  翻譯:陳婷   Contemporary circus, or Cirque Nouveau, is a term coined mostly to differentiate itself from traditional circus. Yet the difference is not in the innovation of skills. Compared to traditional circus which is a form of entertainment, contemporary circus strives for greater artistic achievement. Today,

The World is Our Oyster
藝海拾貝

Text by: Honour Bayes  撰文:Honour Bayes Translated by:Li Bowen  翻譯:李博文 “I think in British theatre there’s been an ongoing problem of what to call things that aren’t plays because it doesn’t seem to be enough to just call it theatre. So there’s been a steady trickle of names; alternative theatre, physical theatre, experimental theatre but

Visual Fest 視覺盛宴

The physical existence of theatre proves the importance of visuality in theatre. In the numerous languages transformed from the text, the verbal is always the first that one can think of; however, undeniably, the carefully choreographed body movements and the meticulously crafted environments on stage also reads and writes the text at the same time. Occasionally, these

             

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