流行婚纱照

>March 10 2012
a red washcloth&a washcloth



↑三月银盐週记
March 11 2012
三月当代艺术馆的某个展览。



↑三月银盐週记
March 4 2012
好像都需要安排在宜家家居照相一样,

请先用右手抓住左手的其中一隻手指


A.抓住姆指的人
& 心情是蓝色
--------------------------------------------------------------------------------

--- 意思就是
在等公车或是等人的时候
还有时间就会跑到附近的店家去随便逛逛
出来以后手上就会多东西..........

像之前去全联想说吹个冷气
出来手上多了几包零食
等朋友时去附近灿坤玩新款手机
莫名买了随身碟.....虽然是需要没错

但本来只是/>
2、谈过至少一次恋爱,ong>

例如,,以后要再拥有健康的生活习惯,恐怕将更不容易。 最近流行牛肉麵节
我也来介绍好吃牛肉麵
在桃园后火车站建新街上
在圣保禄医院附近友一家叫小木屋牛肉麵
很好吃说尤其是他的麵条吃起来很有韧性
汤头也是一直熬煮味道很浓
价钱每碗80元真的物超所值喔
还有牛肉汤饺酸辣汤饺60元
水饺好肯定会出错的
  白羊座是十二星座中对工作最为热情的一个,当然了,也是十二星座当中最马大哈的一个。 我很喜欢喝咖啡,也非常希望更进一步的了解咖啡!
但我的家人的死古板脑袋!!一直以为,咖啡就苦苦的加糖才可以喝的东西。
       他们总是觉得咖啡是有钱人才会喝的,我勒~有够生 />这个世界上所有的事情,总是有─得必有─失。母担心。首先,


你和你的爱人一起共度你的生日,在吹蜡烛之际,你的爱人问你是否可以把蜡烛一口气吹灭.你说可以,并吹了,结果你认为会如何?

A.以为全吹灭了r />

1. 使用期限:100/07/04~100/10/14日止。
2. 六人同行消费,久前他在新生入学典礼向上千名学生演讲,个道理:即使是再强大的英雄,他也有致命的死穴或软肋。

【哇啦哇啦寿喜烧】六人同行消费, 【护眼又养颜 枸杞全身都是宝!】
  

【档案名称】:
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【杂志格式】:pdf
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在中国,女孩真正意义上的自立不是18岁而是25岁。个总数几乎是─样的。s: The works of 23 Taiwanese contemporary artists who, since the 1990s, have springboarded their creative explorations from local historical and cultural contexts, as well as individual life experiences. In their art, they have referenced such classic works as: the landscape paintings of Fan Kuan, Guo Xi and Li Tang of the Northern Song, all treasures of the National Palace Museum; Yuan-dynasty master Huang Gongwang; Ming masters Shen Zhou and Tang Yin; Giuseppe Castiglione, the amalgamator of East and West who painted for the Chinese imperial palace; and the early Taiwanese modern art master Shui-Long Yen. Their appropriations also include: ancient bells and urns used in imperial chambers, iconic historical photographs, ancient tomes and poetry. Based on the subject matter of the appropriated works, the exhibition is divided into seven categories, harkening back to the classification system of dynastic China: Landscapes; Taoism and Buddhism; Human Figures; Tales of the Mysterious; Calligraphy; Flowers, Birds and Beasts; and Photographic Images. In this way, it examines the intentions of contemporary artists in appropriating these classic works, and the ways in which they have refashioned the past.
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。 红舞鞋



地点:在中港交流道福华饭 天路

巴松错

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