北京宋庄原创艺术集聚区发展再研究

宋庄原创艺术集聚区从无到有、从小到大,发展速度由慢变快,经历了十年的自然养成和五年的自觉发展,是研究艺术产业集聚特征和农村地区文化创意产业发展规律的典型个案。本文总结梳理了宋庄发展文化创意产业的主要做法、经验和启示,在此基础上提出更新发展理念、合理调整规划、改善内容监管、完善基础结构、培育宽容氛围、加强服务管理等建议。     

靠谱的行为艺术家

2007年12月11日第九届中国住交会这—国内最大的房地产盛会在北京开幕,很快,带着户型状枷锁的"房奴"形象传遍了各大网站,这位与潘石屹微笑形成鲜明对比的人,就是青岛人梁克刚。原以为行为艺术家是行为极端的人,但是梁克刚从外在形象到日常举止都很"正常",有时像高级白领。他在青岛出生并待到大学毕业,20年后在自己的美术馆——北京宋庄壹号当代艺术公社举行了"1980年代当代艺术青岛梦"。回首那段青葱岁月,青岛天主教堂前风雨无阻的露天画展、激进的美术团体、年轻的艺术家,都已成为上世纪80年代风起云涌的中国现当代艺术中几近淹没的浪花。而他的人生原点注定在北京,那个包罗万象的文化中心,那个能让艺术家过逍遥日子的世界级城市。我觉得他是艺术、艺术家与商业化社会的有效中介,这不仅得益于建筑设计出身的理性思维,更有赖于丰富的职业经历。     

再历史——中国当代艺术邀请展

<正>由北京宋庄贵点艺术空间主办、石家庄当代美术馆、深圳美术馆、湖北美术馆协办的"再历史——中国当代艺术邀请展"于2012年9月1日至10月21日在贵点艺术空间举行。该展由鲁虹担任学术主持,冀少峰、游江策划,参展的艺术家为(以姓氏笔画为序):王广义、方力钧、马六明、陈文令、张培力、武明中、岳敏君、南溪、袁晓舫、傅中望、薛松、魏光庆12位当代一线的优秀艺术家。在当下,强调将历史与现实联系起来进行表现的作品越来越多。而且,这类作品在切入现实与历     

论原创红色歌曲在社区文化发展中的功能--以江西为例

原创红色歌曲为江西社区文化建设带来的影响是积极而深远的。原创红色歌曲在江西社区文化发展中具有提高社区群众思想认识、提升社区整体素质、培养群众优良品质、改善文化生活质量等多方面的正功能。更重要的是原创红色歌曲作为江西红色文化向外界快速传播的载体，成为宣传、弘扬、发展江西红色文化的重要途径。     

声音

每副1元人民币,先赠送北京12万副,向交警、环卫工人等发放。——意将在中国推广鼻腔过滤器,能吸附PM2,5至PM10颗粒频繁翻拍说明电影原创题材匮乏且不能百分百成功。——热播电视剧翻拍电影成模式生活中,很多人无法克制自己的负面情绪,在很大程度上这也许并不是他们自己的错,而可能因为饮食中缺乏钙和镁、B族维生素或碳水化合物等营养素。——如果发现自己控制不住地烦躁,不妨反思一下自己的饮食是否没有达到营养平衡     

东亚国家动漫产业国际分工模式探析——基于生产分离的视角

在经济全球化、动漫产业国际化和市场化的背景下,东亚国家形成了不同的动漫产业发展模式:日本建立了以市场化运作模式为主,政府间接支持为辅的发展模式;韩国选择了国际代工与原创并重的发展模式;中国正向原创为主,国际代工与衍生品开发为辅的发展模式转变.根据国际分工的生产分离理论,在动漫产品制作前准备阶段选择国际合作制作方式可获取利润的最大化.为促进东亚国家动漫产业国际分工模式从垂直分工向水平分工转变,东亚发达国家与发展中国家应在转移动漫产品制作稀缺要素、加快动漫制作人才培养基地建设、通过相互建立战略联盟扩大出口、合作开发动漫衍生品等方面开展国际分工合作.     

创作行为:灵魂的探险

在提到“艺术”这个词的时候,不论指的是被艺术家创造出来的对象,还是艺术家的创造活动,有一点是肯定的:艺术是一种社会现象,是客观社会现实在艺术家头脑中反映的产物。艺术家既是社会的一员,他就不可避免地要表现他的生活经验和对生活的总的观念,这是艺术创作的源泉;不存在与社会生活全然无关的艺术和艺术创作。艺术家的生活经验——直接的和间接的,过去的和现在的,以及这些经验的广度和深度,都很大地关系到他的创作的内容和创作的成败。但是艺术家创作时,并不是被动地、不加选择地记录生活。艺术作品是艺术家对客观现实生活的审美意识的表现,虽然这意识不能不受到艺术家所处的时代、民族、阶级等方面的限制,而艺术家的自我的个性的作用却是最值得注意的。正是这自我的个性,使艺术家创作     

从现成品到装置

正在观念艺术中,现成品和装置是比较常见和相对成熟的门类,也是直接继承于马塞尔·杜尚的灵感衣钵。所谓现成品,即ready-mades,也就是现成的、已经存在的物品,被艺术家直接拿来,称其为自己的艺术品。这个词是杜尚的原创,这个理念也出自杜尚的灵光。事实上,杜尚的很多作品都是把现成品拿来直接签上自己的大名。或许是因为这样的手法过于简单粗暴,所以,其实后来完全继承杜尚现成品理念的艺术家并     

创新凸显特色 特色铸就品牌

题记始建于清朝康熙四十九年、历经300年风雨沧桑、中国现存历史最悠久的社会福利机构——苏州市社会福利院,始终以保障服务对象生活和提升管理服务品质为重心,以创建养老服务品牌为着力点,以求新求变、求真务实、创先创优为动力,不断开辟新思路、新途径、新方法、新项目,积极探索现代化的新型的养老模式,其新鲜原创的＂彩虹关怀＂为老服务模式,无不为国内外同行所称羡,成为中国养老服务行业的典范。     

论艺术的对象

艺术有自己独立的对象范围,它把自己的对象界定在人类社会生活以及和人类社会生活有关的事物的范围之内.哲学对象是生活现象的本质规律,而艺术对象则是本质规律的生活现象.艺术特别要表现人的精神世界,其中也该包括艺术家自己的精神世界;艺术家的主观世界、特别是艺术家自己的情感,也是艺术对象的一部分.     

Unemployment of professional artists: empirical evidence from Australia

This paper analyses the determinants of professional artists' unemployment. A sample of 1030 Australian artists was examined to determine the relationship between the probability of unemployment and artistic profession, education, origin and other demographic covariates. Special attention is focussed on factors influencing the probability of long‐term unemployment. It is found that artists in Australia are a heterogeneous labour market group, as regards exposure to unemployment and long‐term unemployment risk. The probability of unemployment episodes varies significantly depending on the artistic occupation: community cultural development workers, actors and directors are most likely to experience unemployment, while musicians and craftspeople are the least likely. Youth, disability, living in a capital city or in Tasmania, South Australia, Victoria or New South Wales, as well as level of tertiary education, can all increase the likelihood of unemployment episodes. On the other hand, participation in formal training in the artistic profession and living in a relationship or marriage are associated with a lower probability of unemployment. Being a writer or visual artist, living in the Northern Territory, and lower levels of education can increase the probability of experiencing long‐term unemployment. Neither gender, nor origin nor age affects the risk of long‐term unemployment of Australian artists.     

略论清代北京的说唱艺人

本文以子弟书文本为依据,主要介绍几位清代北京的说唱艺人,包括推陈出新的子弟书艺人石玉昆、郭栋儿,以及单弦艺人随缘乐等,从中可以管窥清代京城说唱艺人的表演艺术、演出盛况以及当时的社会风貌和人们对说唱艺人的态度、评价。     

Prognosis for the Novel,East and West

Form and content in art are an all-absorbing subject for discussion among Soviet artists who like all artists everywhere are trying to formulate their thinking and apply it to their work. For the writers the central problem is the novel in its various aspects. M. Kuznetzov, a ranking member of the Soviet Writers' Union, makes the following contribution both as writer and as critic. ["Paths of Development of the Modern Novel," Novyi Mir, 1960, No. 2—abridged.]     

Expressions of love, sex, and hurt in popular songs: a content analysis of all-time greatest hits

This research analyzed the 100 most popular songs (1958–1998) for artist characteristics and expression of love. In the 1990s women and black artists recorded more hits than in earlier periods. Over time, references to love in lyrics performed by women artists decreased. References to sex in lyrics peaked during 1976–1984 when women used sexual references five times more than men; however, during 1991–1998, men used more sexual references. Later songs and songs performed by white, female artists expressed greater selfishness. The quality of love expressed in lyrics remained the same. Results are discussed relative to cultural change.     

《秦腔》——用抽象艺术展现乡魂

鉴于文学理论界倚重于论述《秦腔》还原的表达方式,我们就以文本分析了《秦腔》中作为抽象艺术最基本的表达方式的具体内涵,通过剖析《秦腔》中艺术形象的意义,论述了作品所呈现的理性与非理性这两种不同的抽象表达形态,高度评价了作家对乡土生活深刻的认知以及在小说叙事方法上所进行的革命性探索。对于广大文艺工作者重新审视艺术创作与社会生活之间的关系、处理好物质叙事与精神表达的关系具有借鉴意义。     

Choosing hunger

In much of the academic literature, hunger is treated as a problematic condition that affects people against their will. However, this focus ignores the many instances in which people actively choose to go hungry. The clearest examples are cases – such as dieters, hunger artists, and religious fasters – in which the choice seems voluntary. Yet people forced into famine or starved in concentration camps also make critical, though often subtle trade-offs related to hunger. This paper explores two fundamental characteristics that help to clarify the differences between various cases of hunger: the degree of choice and the severity of the consequences. By emphasizing the centrality of choice and providing a framework for the analysis of various situations, the paper argues for a re-examination of the concept of hunger.     

以可行能力视角看待障碍:对现有残障模式的反思与探索

残障研究经历了个人模式-医学模式-社会模式的发展历程,社会模式对残障产生的原因进行了革命性的解释,大大推进了残障人士权益的发展。但上述模式都将关注点放在障碍产生的原因上,而这可能会强化原因与作为影响的障碍之间的固定联系,进而加重刻板印象以及弱势地位等问题;此外,以原因区分障碍的做法并不能准确地反映人们在现实中遭遇的障碍,在认识、分析和处理障碍方面也存在一些困难和缺陷。因此,我们应当尝试将关注点从障碍产生的原因转向障碍本身,以可行能力受限或者受损看待障碍,将原因和障碍真正“解绑”,从而超越“医学模式-社会模式”“社会隔离-社会融合”“优势-劣势”这些不合理的二元对立。基于这样的转变,我们可以为消除障碍找到更加精准、更具有整体性且更加有效的办法。     

LOUD silence: Turning Up the Volume on Deaf Voice

Abstract

From 2014 to 2015, I curated an exhibition entitled LOUD silence, which was held in two different venues in California: Grand Central Arts Center at California State University Fullerton, followed by gallery@Calit2 at the University of California, San Diego. The exhibition offered the opportunity for viewers to consider definitions of sound, voice, and notions of silence at the intersection of both deaf and hearing experiences. The exhibition displayed prints, drawings, sculptures, videos, and several film installations, and featured work by four artists who have different relationships to deafness and hearing, including Shary Boyle, Christine Sun Kim, Darrin Martin and Alison O’Daniel. These four artists explored how the binary of loudness and silence might be transformed in politicized ways through their own specificities, similarities and differences in relationship to communication and language. The stereotypical view of the deaf experience is that they live a life of total silence, where they retain little to no concept of sound. But on the contrary, deaf studies scholars Carol Padden and Tom Humphries state that deaf people actually know a lot about sound, and sound informs and inhabits their world just as much as the next person (Padden and Humphries 1998: 91).Through these artworks, the artists aimed to loudly explode the myth of a silent deaf world, and they troubled just how “inaudible” sound really is through their own visceral experiences of it. Ultimately, I argue that the work in LOUD silence offers an avenue for eradicating deaf oppression.     

二十世纪四十年代东西方马克思主义视域下毛泽东文艺主体性理论的现代性思考

文艺的主体性原则由近代启蒙运动创建。毛泽东的《在延安文艺座谈会上的讲话》对文艺主体性的释读显然具有积极的超越性和重大的重建性。如何使文学艺术家了解人民、熟悉人民,不单是一个实践问题,也是一个重大的理论问题。毛泽东对此问题的见解超越了当时一切马克思主义文艺理论权威,对今天现代性视域中重建文学艺术家与现实生活关系,文学艺术家与人民大众关系的理解仍具有范式意义。《在延安文艺座谈会上的讲话》不仅代表了东方马克思主义创建文艺主体性、重建现代性文化理解的强劲而富有个性的声音,而且也是对西方马克思主义无法突围自身传统和语境的超越。在当代马克思主义全球化语境中,对《在延安文艺座谈会上的讲话》的现代性研究具有极为重要的当下文化意义。     

Revealing representations of jazz in the Weimar Republic

While in America and elsewhere jazz made its debut in the middle and late 1910s, the Weimar Republic (1919–1933) remained relatively isolated from jazz until 1920. Touring groups opted for travel in economically and politically stable areas. Until the first live jazz concert in 1924, Germans learned of jazz through sheet music, recordings, and soldiers returning from World War I. Lasting records of jazz culture exist due to the advances in sound recording, photography, and publishing. Jazz images from the Weimar Republic offer a glimpse into the triangular relationship of ethnic African and African-American jazz artists with jazz culture and with German audiences. Many images de-emphasize the African-American jazz artists by using stereotypical tropes, masking the artist, and avoiding physical portrayals of the artist. These techniques reflect the adaptation of jazz culture for audiences within a nation recovering economic and political stability.