绿茶拿铁 Green Tea Latte

比不上taca同学和海伦同学的“直线八卦”，那么我利用发达的网上八卦稍微了解了一下lake同学近来的腐朽糜烂小生活，终于明白了当初他为什么死乞白赖、百折不挠的要回国：生活滋啊，江湖广啊，包养快啊！在一阵轻微小嫉妒后，还是很为他高兴的。正如他某个睿智朋友说的，都30的人了，保持这样的生活容易吗？哈哈哈～

现在是正点新闻播报：

索斯比4月在香港成功天价拍卖了号称“埃斯黛拉收藏”（Estella Collection）的中国当代艺术品的一半后，不仅为一些中国艺术家创了拍卖纪录，而且也引来的一些非议。该拍卖总成交额达1千8百万美元，其中张晓刚的血缘系列第6号拍得6百万美元。但是部分涉及艺术家和收藏策划反映，在当初收集该收藏时他们被骗错误相信这是一个西方大款收藏的永久性收藏，并且最终会捐献部分作品给知名博物馆。

谁知实情却是购买者乃是一票投机者，为了迅速赚钱在去年8月将该收藏卖给了曼哈顿的画商威廉·阿瓜维拉 (William Acquavella )，后者再通过索斯比出售。部分涉及的艺术家说，他们当时降价出售了作品是因为期望该收藏能够赢得长期声誉并帮助提高他们的名气。其中，艺术家仹正杰说，“我觉得受骗了。没想到【画作】结果成了这样，就是为了拍卖。”【从英文转翻的，非原文】组成该收藏的纽约画商麦克·勾德辉斯（Michael Goedhuis，这个，咋才能翻得好听些呢？）很无辜的说他没有误导任何人，他也相信他的投资者会保留该收藏。事情的变化是他无法控制的。他共花了三年多的时间组织该收藏。勾德辉斯谢绝透露他的投资者的名字，不过纽约时报披露了之中的两人：瑞·德贝恩（Ray Debbane), 纽约投资公司“因弗斯金融顾问”（Invus Financial Advisors), 和萨查·雷诺维奇（Sacha Lainovic）,该公司的联合创建人和管理合伙人。

The 2008 Olympic Games aren´t just a gathering of athletes, it´s also a showcase of the most innovative buildings and technologies like GreenPIX, the Zero Energy Media Wall by Simone Giostra & Partners and ARUP, pictured above.

This curtain wall covers the front of the Xicui entertainment complex in Beijing, near the site of the 2008 Olympic Games. It features the worlds largest color LED display, powered by a photovoltaic system integrated into the glass curtain wall.

This Media Wall will showcase a selection of specially commissioned video installations and live performances by artists from China, Europe and the US, starting in May. Pictures, construction progress, diagrams and videos after the break.

Source: Arch Daily (click for more photos and videos) 

Source: The Art Newspaper

French curator Jérôme Sans is expected to be announced as the new artistic director of the Ullens Center of Contemporary Art (UCCA) in Beijing at a press conference in Paris on Tuesday. Speaking to The Art Newspaper last month, Guy Ullens, the Belgian foodstuffs baron who has entirely funded UCCA, said that Jérôme Sans had been selected as the new director and that an announcement would be made as soon as the appropriate Chinese authorities had approved the appointment.

Lange's photography reveals a particular sensitivity to the body's gestures and postures. Sally Stein has suggested that the photographer 'viewed the trials of the Great Depression as something registered and grappled with first and foremost in the body'. It is tempting to see this sensitivity to the body as linked to the legacy of her illness--a bout of polio in her childhood had left her with a pronounced limp. In the early 1960s she described the impact of her handicap:' it formed me, guided me, instructed me, helped me and humiliated me.' In later life, Lange was debilitated by serious and extended bouts of ulcers and oesophagitis, her illness interrupting and preventing many of her planned projects.

Life (Roy) Stryker, Lange believed that photography was a tool of political action. It could and did effect change. As soon as she had printed the negatives, she went to tell the City Editor of the San Francisco News of the migrants' plight. He notified United Press and on 10 March the News ran a report that the federal government was rushing in 20,000 pounds of food to feed the hungry migrants at the camp. Alongside the headline ran two of Lange's pictures, but not the now famous photograph. 

In her account of picturing the migrant mother, Lange refers to taking five photographs, 'working closer and closer from the same director'. In fact, she took six pictures, submitting five to Stryker and withholding one, probably for aesthetic reasons. James C. Curtis suggests that it was a trial shot, made soon after she got her equipment out of her car, a means of easing her subjects into posing for their portrait session. Considering these images in terms of a series culminating in the well-known portrtait of the migrant mother, one gets the sense both of a careful arrangement of the mother and her children and the progressive editing out of distracting and seemingly irrelevant details. The particularities of context are erased to achieve a more abstract and thereby universal representation of poverty.

The court decision was delivered just now: all three cops were found NOT GUILTY on all charges.

下面的序言补齐了。书的其它文字部分也可以在这里看到：link。

某日天晴日暖，骄阳当头，大下午的俺在办公桌前正在睡梦与清醒中游离。某某同志一通电话将俺惊醒，劈头问道，“他们后来抓人了吗？”

俺惊醒了，“谁？哪儿。。。？”

某某同志，“车祸那儿啊！”

俺快惊吓晕厥过去了，“啊？什、什么车祸？。。。”

某某同志，“我是XX啊！你。。。喔，原来是小X，不是小Y啊！只有一字之差。。。”

俺彻底倒下了。

另外一个同志，在又一个昏昏欲睡的下午，打电话问我需不需不要买可以“化毛”的猫粮，我还以为他要我帮他养猫呢。要是他让我养他的猫两个月，然后收养我的猫，该有多好啊！

感谢这些孜孜不倦的无厘头同志们，让我感到自己还活着。 

Published in Dec 2005

偶然拾起一年半前北影摄影学院院长随手送给我的他们出的一本影集“城市节奏/人的节奏”，记得当时翻了翻没觉得出奇，现在看看竟然看到了多处闪光点，也不知是我的审美提高了还是后退了，当然我向来对城市和人的题材特别敏感是一贯的。该画册作品由中法9名在校（师？）学生创作，其中包括了“鼎鼎大名”的busoni (而且是排在了头阵）。 巴黎第八大学摄影系美学教授Jean-Claude Moineau写的序言，先搬一搬。(翻译：Simon Welsh，王晶，刘芳，唐圆媛，吴沁沁）

。。。节奏不仅拥有组织形成稳定与静止的能力，而且也有形成运动和变迁的权威。它是形成过程中的形态，而非已经完成的形态。但是它确实表现出一种独有的特征，使它更加背逆而非符合一般的变革，因此，很矛盾的是，它虽然受一定的规律引导，但却更多的表现出来杂乱而非有序。所有这些都表明，节奏并不一定要与质疑这一断言不一致，从而才各种媒体的许多艺术实践似乎都着迷与杂乱本身，而不寻求建立任何一种秩序时，通过拒绝所有“形式”的构图，拒绝重点的选取，在“原始的混沌”（或者是古老的“创造性火花”）中寻找秩序和有形。

...Rhythm has the power to organise not only stability and stasis but also movement and flux). Form in the process of forming rather than fully formed and finished form. But it does show a neguentropic character, therefore it is more contrary to than conforming to the general evolution, directed as it is by laws which, in a pardoxical way, tend to dictate disorder rather than order. All this suggests that it would not necessarily be incongruous to question this determination to summon up order and form from "primordial chaos" (or else the old "creative spark") at a time when many artistic practices, in all types of media, seem to be more fascinated by chaos as such, without seeking to impose any sort of order on it, by rejecting all "forms" of composition, a priori or a posteriori.

In November of 2006, Juan Manuel Echavarria visited a cemetery in Puerto Berrio, on the banks of the Magdalena River in Colombia. Within the cemetery, a particularly colorful mausoleum stands apart from the others. The tombs are marked with the letters NN: Ningun Nombre--No Name. Within each tomb lies a corpse or part of a corpse that the people of Puerto Berrio have rescued from the Magdalena River. Most are victims of massacres from the drug war, many mutilated, many simply discarded for convenience, anonymity, to feed the vultures. But here the people save the nameless and decomposing bodies from the waters and bury them in the cemeter. Then they perform a second ritua. A NN can be "escogido"--chosen--by a person who agrees to take care of its tomb, to pray for its soul, in exchange for favors from the dead. The blessed one adopts the NN, decorates the tomb with flowers and often a marble slate saying, "Thank you NN for the favor received." Some caretakers even name their NN, often granting them their own family name, inscribing the given name on the marble.

On one level, the living makes a business-like proposition with the dead: In return for a favor, I will keep up your tomb, decorate it, paint it, bring a glass of water so your soul will not be thirsty, bring you flowers, humanize you by giving you a name. But collectively they are saying, we won't let the violence erase you, we snatch you away from those who have made you disappear, we take care of you, we give you names. Their pact with the dead resists the perpetrators of violence and reconstructs the social fabric. --Juan Manuel Echavarria, 2007

Born in Medellin, Colombia, Echavarria lives and works in New York and Bogota. Death and the River will run at the Josee Bienvenu Gallery through April 5, 2008. (excerpts from gallery press release)

The 2008 Whitney Biennial expanded to the Park Avenue Armory to host multiple installations, performances and events. The Armory is a huge 19th-century clubhouse originally used by the Seventh Regiment as both a military facility and a social gathering place. A designated historic landmark today, the Armory is full of dim hallways, crumbling period rooms, marvelous antique furniture and portraits, and walls mounted with giant animal heads. For artists, it must be exciting and challenging to produce site-specific installations and performances here. And indeed the selected artists presented the viewer with a wide range of ideas and executions. It includes dance parties (Agathe Snow), burlesque performances, a gypsy banquet, a slumber party with cots, blankets, snacks and ambient music (DJ Olive), and a real working bar serving homemade tequila (Edwardo Sarabia).

惠特尼双年展的装置和表演部分今年设置在了公园大道上的Seventh Regiment Armory，是由Art Production Fund承办的（这个非营利的艺术“承包公司”很有些讲头，待我研究研究再表）。本来昨晚有burlesque表演，怎奈我们老师认为不是艺术，不让我们看，只有我一个贼忒兮兮地一个劲儿的用眼角溜儿，可惜了她雪白的胸脯和大腿。结果老师让我们写展览评论，这下我傻眼了，我好像是唯一一个没基础的学生吧。。。评论这玩意儿现在我也不敢乱发，一来水平太凹，二来号称现在媒体中已经没有负面评论了。我还没出道就大嘴巴把人都得罪了，将来还怎么混呐？闷～

听说你最近获得了CCAA的终身成就奖。
　　　　　　莫名其妙，这日子没法活了，我觉得这个时代，大家都等不及了。有些事恨不能一目十行地跳着走。获得终身成就奖，那一秒钟就应该一头撞死。如果没撞死，这个人就是死不要脸，活着的话，别人看见会说，都获得终身成就奖，你怎么还活着呢？

你小时候的理想是什么？
　　　　　　
　　　　　　小时候的理想就是想多读一些马列书籍，比如《国家与革命》、《GCD宣言》。读了以后就觉得自己有了精神武器。现在打游戏机都比拼能打到多少级，那时候就比读了多少本马列的书。比现在有房有车厉害多了，你想儿童的脑子里有了马克思的思想，这个事情不得了。

你的家庭绝大多数人看来还是很好的。
　　　　　　
　　　　　　我们那个年代我的家庭是最令人耻辱的，自己的所有行为都不对，我只要一高兴就出事，非常准，有时候我刚要高兴，就对自己说不能高兴， 要出事了，而且都是要出大事，不能得意忘形。太奇怪了，后来就不敢高兴了，老装深沉就没事了。后来连莫名其妙的高兴也不敢，很压抑、很变态的，要不然怎么 能做艺术家呢？要不然怎么能够都50岁了，还在艺术圈里混呢？要多变态才会这样啊，你看看中国过了50岁的人，有几个像人样的，当然也包括我刚到50岁的 人，我觉得年轻人去搭理他们，真是体现了一代人比一代人善良。

全文在此。 

这星期去上画廊管理的课（照taca的话说是nyu“成教部”），第一堂课得出的印象是：钱都让dealer们和secondary market那些炒作的挣走了，名气和self gratification都是艺术家的，就剩下curators啥也没捞到。于是乎，有些闷。。。这年头艺术馆类的机构型场所持续低迷，传统非营利的模式似乎再难长久，真不知道所谓“展览”的形式是否也会日益衰败，渐渐变为“嘉年华”的表演性质，最终沦为fair的附属品。也有些杞人忧天，艺术品从宗教圣品，逐步演变为上流社会奢侈品，再最终变为大众消费品。这不仅仅在其日益与商业成功媾和双赢的趋势中可以窥见端倪，也是人类社会越来越消费个人化、终端化的发展的具体显现。我其实不是艺术至上论者，不过当把它作为一件商业品经营的时候，其思索、策略必然会与艺术判断有冲突，会与合作的艺术家有分歧，curator夹在中间其实颇为尴尬。还是事不关己高高挂起的做个评论家比较容易，不过那不是我的性格。

也看了两篇京不特翻译的Kierkegaard，觉得他学丹麦语翻译哲学挺令人钦佩的，只是他的中文功底实在不咋地，翻译出来的东西如鲠在那个啥，看着极不舒服，可见翻译实在是难上加难的一件大功夫。

见到了taca小朋友，以及他的朋友大宝小朋友。还是那么积极向上，我很欣慰。虽然大宝对周杰伦很不耻，可我从侧面看着他，怎么觉得他好似个文艺版的“周杰伦？”

人在一个地界儿上混油了的特征就是觉得这地界儿怎么越来越小了，人和人怎么都搭着点儿关系？自从在故乡味创下了七人偶遇的记录（那也是青摄会的颠峰之时代吧）、我小学同学成了老八的小学同学的密友后，我又有了前一天刚一起吃过晚饭的朋友第二天正撞破她和新欢的brunch约会（而且坐前后桌），周六又在大都会撞见了刘小东和他媳妇，以及采访曹斐的记者是朋友的堂姐的朋友等离奇经历。周日遇到了一群哥大毕业的记者和建筑师，有预感不定这其中又有多少瓜葛。。。那天我在大都会里兴致勃勃地冲向它新辟的当代摄影厅，迎面一人也正兴致勃勃地奔向某展厅，两人一瞪视，我后脑勺开始盘算这个“赴美旅游学习的优秀企业家”是谁啊？当然在我心中豁然开朗的时候他还在一片惘然，随后慌慌地拽着媳妇看展去了。后来我向老八汇报的时候，她说你也不要个签名啥的？我嘿嘿一声。这辈子好像除了初中要过某北京国安队球员的签名外，再没冲动想要过谁的签名，也许梁朝伟会是个例外，呵呵。 当代摄影厅太拼凑了，没啥主题。Gustave Courbet的展大多数作品对我来说有些沉闷，当然"the origin of the world"还是震撼了我一下的，想想他画她的年代，令我有些敬佩。Jasper Johns的Gray展览，很好，很强悍。