樹脂作品 - 金魚養画場 - 美術作家 深堀隆介 オフィシャルサイト. 金魚養画場 美術作家 深堀隆介オフィシャルサイト 金魚養画場 > 樹脂作品 樹脂作品 ホーム | お知らせ | 金魚観 | 経歴 | お問い合わせCopyright © Riusuke Fukahori.
All rights reserved. Michael Johansson.
Michael Johansson. RON van der ENDE. Permanent Construction - Jan Vormann. Japanese-ness in Japanese Contemporary Art: ‘Roppongi Crossing: Future Beats in Japanese Contemporary Culture’ 日本当代艺术中的日本性：“六本木岔口：未来的脉动” Vicente Gutierrez走访了在东京六本木山森美术馆举办的一个艺术展，并为我们发回了报道： 作为2004年展览的延续，“六本木岔口”的四位策展人选出了代表日本新兴创意的36位艺术家。
这些艺术家的作品与日本艺术形成时期（既1960年代和1970年代）最具有影响力的日本艺术家的作品并排放置。 两组作品都横跨绘画，雕塑，设计，影像，摄影，动漫和传统手工艺品（刻意排除了建筑和时尚），这一展览的目的旨在探究当代日本艺术的脉动。 策展人们将这些汇集成展览，也引发了这样的疑问：是什么让这些艺术家走到一起的？ 是存在着这么一种万有引力般的“日本性”？ 截至1月14日，一些选择该展览的作品 佐藤雅彦+桐山孝司（Sato Masahiko+Kiriyama Takashi）：算术公园2007。 佐藤雅彦和桐山孝司在一个交互式装置中采用了RFID技术，游戏的参与者选择一张写有数字的卡片挂在脖子上，本质上他们就成了这些数字。 榎忠（Enoki Chu），RPM-1200，2005。 榎忠的RPM-1200[2005]是一个未来主义的都市景观设计，其特点是以（碎屑）金属为材料进行的高度精细的手工制作。 岩崎贵宏（Iwasaki Takahiro），模型倒影，2001。 岩崎贵宏精雕细琢复制出的京都的金阁寺（和它的倒影，为了表达折射的效果而略有偏移）则体现了本次展览传统的一面。 右图：鬼头健吾，皇家，2007。 定名为“皇家”，鬼头多彩而富于生机的视觉多面体同小型螺旋桨叶安置在一起，并且即使嗡嗡作响，但该作品对视觉的吸引依然胜过其对听觉的吸引。 山口崇司（Yamaguchi Takashi） 基于算法的交互式模型带领我们进入一个全新的环境，在这里我们怀疑我们的行为和认知带给（可视化）数据的影响。 山口崇司，d.v.d “六本木岔口”展强调了策展人为日本“艺术”所打的标签，并且，作为一次全面审视日本艺术的展出，36位艺术家的组合看起来更可能导致分化而非完整的景象。 图片均为森美术馆所有。 原文OriginalText 责编：sophywt.
SHOW OFF PARIS foire d'art contemporain / SHOW OFF ART FAIR. Docks art fair 09 - Visuels. House of thoughts. Conceptual Art « Alphabet. Phill Niblock After an early period studying economics (BA, Indiana University, 1956) Niblock came to New York in 1958.
Initially he worked as a photographer and filmmaker. Much of this activity centered around photographing and filming jazz musicians. Thereafter he made a number of films in a series titled The Movement of People Working. Daniel Wurtzel: Sculptor of Unique Materials and Experiences. LoopLoop. Bichaud-Jean-Luc Paysage de fantaisies Galerie Alain Le Gaillard Pierre-Évariste-Douaire Art culture paris,art culture France,evenement culturel,agenda culturel paris,actualité art culture,photo art,agenda design,exposition design,éditeur design,spectacle.
Par Pierre-Évariste Douaire Jean-Luc Bichaud présente sept jardins suspendus.
Jeff Wall. Jeff Wall, Picture for Women, 1979; Silver dye bleach transparency in light box; 56-1/8 x 6 ft. 8-1/2", Collection of the artist; © 2006 Jeff Wall.
Jerszy Seymour Design Workshop. Melanie Wiora - Google 搜索. Archiveturnerprize2009. Richard Wright, no title 2009, Courtesy the artist; Gagosian, London; The Modern Institute / Toby Webster Ltd, Glasgow and BQ, Berlin © Copyright the artist.
Photo: Photo credit Sam Drake and Gabrielle Johnson, Tate Photography. Roger Hiorns, Untitled 2008, Courtesy the artist and Corvi-Mora, London © Copyright the artist. Photo: Photo credit Sam Drake and Gabrielle Johnson, Tate Photography. Mauve Deep / Keegan McHargue. Koo Jeong-A Rackroom. Knowing about Koo Jeong-A's fondness for words and particularly the way they sound when pronounced, ArtSlant asked Nicolas Nahab, the coordinator at Yvon Lambert in Paris, about the significance of the name of her exhibition, new song, o, at the gallery in January of 2009.
"We think it's a kind of homage," he said, "but she won't say directly what it's about, or to whom. " He continued, "With Koo, she'll be very open to whatever interpretations people draw from her work but will be very reluctant to tell you anything definitive about it. Like the blue paintings in this show, they are all entitled TTS, but she's very mysterious; she won't say what it means, even to me and I've worked with Koo for years.
" Koo. Site officiel de la République de Corée. Art culture paris,art culture France,evenement culturel,agenda culturel paris,actualité art culture,photo art,agenda design,exposition design,éditeur design,spectacle danse,spectacle danse contemporaine,festival danse,marché art,exposition art contemporai. Portail art contemporain, artistes, galeries, oeuvres, Communauté MyContemporary.
Secession. Koo Jeong-a, 3355, Installation View In her interventions and installations, Koo Jeong-a starts from the constitution of an exhibition location and simultaneously identifies the most advantageous form for the placement of her objects there.
Koo Jeong-a's compositions are often more firmly rooted in poetic than in sculptural thinking, and they have the delicateness and lightness of dream worlds. Koo Jeong-A. Koo Jeong-A Centre International d’Art et du Paysage, Ile de Vassivière, France The Vassivière art centre, designed by Aldo Rossi and Xavier Fabre, comprising a conical lighthouse and horizontal hangar situated on an island in an artificial lake in the middle of nowhere, seems so improbable that visiting it doesn’t feel like being in the countryside at all; it’s like entering another, peculiarly displaced world.
Koo Jeong-A’s splendid exhibition ‘Oussseux’ is at one with that world. ‘Oussseux’ means having the quality of being ‘ousss’, a word the artist invented some time ago, and which she recently inserted into a pink and green bound Flamariousss dictionary (a play on the Flammarion dictionary publishers). A flick through its pages reveals that the neologism is defined solely by its usage: ‘the future will be ousss’, ‘the land of ousss’, etc. Koo’s work is itinerant and transient rather than traditionally site-specific. Vivian Rehberg.
设计.