加载中…加载中…编辑手记
2012年初，我于2007年底与左靖共同创立的一本中文艺术月刊被停刊。虽然从2009年起我已经较少地参与该杂志的策划和编辑工作，但这份杂志的存在为包括我在内的艺术写作者提供了一个不受体例、栏目和字数限制的表达平台。这样的期刊在国内并不多见，大多数的杂志在内容上有拘谨的设定，多有报道和记录性的文章，鲜有描述思考和创作，且在写作方式和洞见上提倡创造性和自由的文章。在我个人的实践中，我深切地体会到这种缺失对于写作者的影响。和艺术家一样，写作者也需要宽广、灵活、有想象力，尊重创作和思考的平台，来表演、表达、操练和
我在2012
卢迎华
2012年，累计起来我和家人旅行以及居住在外地的时间与在北京的时间几乎对半分。记忆中的这一年，我们一家三口，拖着两个旅行箱，三本护照，到处流浪。我曾经为去年八月至十月期间绘制过了一个行程表，发现在这两个月中我们持续旅行至将近10个地方。为了轻装，我们三个人在旅途中过着简单的生活，几十天变换着穿同样的几件衣服，却在这些最基本的生活状态
Carol Yinghua Lu is a contributing editor of frieze, based in Beijing, China.
Geng Jianyi, Interchange of Light, oil on canvas, 1.4 ×
1m, 1993-1996
Simon Sheikh, ‘Instituting the Institution’, speech
given as part of No Ground Underneath: Curating On the Nexus of
Changes symposium, Times Museum, Guangzhou
A thought-provoking argument on the social and political
implications of the act of instituting and the responsibility of
arts institutions, which linked artistic practice to a larger
social and political imaginary.
‘Ancestral Modern: Australian Aboriginal Art from the
Kaplan & Levi Collection’, Seattle Art Museum
A fascinating survey of aboriginal art from Australia. It was an
informative and mesmerizing introduction, by wa
2012年没能开展的工作
卢迎华
2012年的年初，《独立评论》（前身《当代艺术与投资》）被停刊，虽然这个事件没有得到很多的注意力，但实际上，对于在艺术行业内持续写作的部分人而言，这是一个极大的损
Roy Lichtenstein as an Establishment
Text: Carol Yinghua Lu
Roy Lichtenstein became known to China since the 1980s and received a warm welcome among the art community in China right away. The influence of Lichtenstein’s works on Chinese artists is still apparent today. This has to do with the kind of ideological stance Chinese artists and critics had projected onto Pop Art since the beginning of its introduction. It was a projection that wasn’t exactly based on a full understanding of the original context in which such works arose and the intention of their creators. Rather, Lichtenstein’s way of working, appropriating frames of comic strips, advertisements, icons from popular culture and the American industrialized way of living, wor
一次圆桌会议对话节选2
讲座“拉希德·阿瑞安在深圳”
一次圆桌会议对话节选1
讲座“拉希德·阿瑞安在深圳”
相信实践
卢迎华
2011年秋天，在去阿尔福莱德大学演讲的路上，我路经纽约，见证
卢迎华：光州双年展“圆桌”是一个开放的平台
导语：第九届光州双年展将于2012年9月7日至11月11日举行，本届双年展共设有六位联合策展人以及六个相互交织的副主题，且六位策展人均为女性。多位策展人、多重主题的设置交叉使得本届光州双年展显得十分复杂，本届光州双年展会以怎样的形态出现？雅昌艺术网第一时间对话策展人之一卢迎华，请她解读本届光州双年展的策展思路，作为联合策展人，各国策展人又如何将不同地域的文化
Introduction to Shi Cheng
Liu Ding, Ra Page and Carol Yinghua Lu
Shi Cheng, or Ten Cities in English, has come from a series of encounters in various cities in China and UK. In 1997, one of us, Liu Ding, an aspiring artist who dropped out of the art academy to pursue an independent practice, met Han Dong, a poet and writer who for years has insisted on writing and practicing independently rather than succumbing to a certain uniform style and law of the official writers’ association in China that determines the possibilities of most Chinese writers to be published and translated. It was in a gathering of artists and writers in a bar in Nanjing. The two hit off right away and in the following yea
