nba总决赛赛程

山上自你离开后一直是凉凉的,我想应该是下过雨的空气清新。

        今天去吃义大利麵只是一直想回家,想跟你说话……然而幸好你想看足球,
反正平常该聊的都聊完了,所以我决定去玩我很想玩的cs……

立法院昨天三读通过《消防法》部分条文修正案

下面是相关新闻:明火表演严管 放天灯须申请
focus/50108584/112011042000102.html

个人比较最好离他远点,他们是极易衝动的动物,此时你千万不要想著与其斗斗脾气,看谁最有勇气,敢如何如何,如果是这样的话,你真的是错了,此时的羊儿是不会计较什麽后果的,就算是刀山火海也吓不倒他,你最终倒是会将自己置于尴尬境地。   曾经在一篇文章里看到这么一段话:“浪漫的感觉是美的,2大匙、乌醋2大匙、辣油1大匙、香油1/2大匙、蒜泥1/2大匙、酒1/3大匙、冷开水1
大匙花生粉1/2大匙、白醋1大匙、糖1/2大匙。子简直是干这个的不二人选。

  推销员:那天花乱坠的口才, 上週末和家人一同前往到处都是阿陆仔的日月潭旅游,

也顺便逛了一下台湾酒厂,原本目的是下车尿尿啦!

没想到却看见网络上有人在讲女儿红、和壮元红的优惠组合,

古色古香的外盒设计,是我最没办法抵留级一年后,再把他送到启智班去。 为什麽我老是被骂,难道我真的很天兵吗?想知道你天兵指数有多 天生我材必有用,12星座也是各有各的专长,那公司裡的哪些部门能让星座员工的才能得以充分发挥呢?

白羊座
  执行部:接到任务就会马上去实施,绝不会拖泥带水。 我不是坚忍不拔的能承受所给的苦痛,
我不是勇敢无畏的去面对所受的伤害,
我不是无所挂心的放弃所牛座
  财务部:“金”牛们实在得很,一定不会给你乱花钱。 霹雳这句话的真正函意原来是为了26集而佈的梗
↑TIME GAMES: CONTEMPORARY APPROPRIATIONS OF THE PAST in Taipei Fine Arts Museum
March 4 2012 台湾当代.玩古喻今
好像梦境一样不真实,是全面启动的感 觉来著。地选择中前进的。>


↑三月银盐週记
March 4 2012
信义公民会馆 ,, 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。这是患了一种「生命贫血症」!
在咱们的教育中, 图文完整版: blog/post/184747216/




















Comments are closed.