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  • Yishu典藏國際版 [第88期]:Frontier Vision : A Reassessment of Post-Globalized Politics in China
  • 點閱:6
  • 並列題名:Yishu: Journal of Contemporary Chinese Art
  • 作者: Yishu Office編輯
  • 出版社:典藏雜誌社
  • 出版年:2018.09-10
  • 格式:PDF
租期7天 今日租書可閱讀至2021-01-26

本期內容簡介
 
INSIDE
 
Frontier Vision: A Reassessment of Post-Globalized Politics in China

 
Artist Features: Yang Jinsong, Pak Sheung Chuen, Yin Yi
 
Conversations: Jean-Hubert Martin, Karen Tam
 
Exhibitions: Far and Near: The Distance(s) between Us; Ho Tam, Cover to Cover


雜誌簡介
 
《典藏國際版》為全球第一本專注於中國當代藝術和文化的英文雜誌,自2002年5月創刊以來,經過十年的努力,終成為藝術和學術領域最令人注目的期刊之一。如今它出現在諸多國家的大學、美術館和圖書館中,為中外學者提供了跨文化對話溝通的一個重要平台。
 
About Yishu

 
Yishu: Journal of Contemporary Chinese Art is the first English language journal to focus on Chinese contemporary art and culture. Each bi-monthly issue features scholarly essays on topical issues, interviews with artists and curators, conference proceedings, and critical commentary on exhibitions and books. Yishu offers a platform for a wide range of voices who are living and telling the story of contemporary Chinese art from a diversity of perspectives, and who provide dialogue and debate around current visual and literary forms produced within what constitutes an expanded understanding of contemporary Chinese art.
 
Since its inauguration in May 2002, Yishu has raised its profile internationally to become one of the most respected journals devoted to contemporary Chinese art. Appealing to professionals in the art and academic fields, as well as art enthusiasts in general, Yishu is now the journal of record for the high quality coverage of issues and events pertinent to Chinese art today. Its high standard of critical writing by thinkers from around the world allows us to voice ideas that communicate across cultures.


  • 編者手記 Editor’s Note(第2頁)
  • 作者小傳 Contributors(第4頁)
  • 疆域之眼:地緣的拓撲與後全球化政治 Frontier Vision: A Reassessment of Post- Globalized Politics in China(第6頁)
  • 中國行旅:馬爾丹(Jean-Hubert Martin)及西方對中國藝術家的認識 Journey to China: Jean-Hubert Martin and the Introduction of Chinese Artists in the West(第28頁)
  • 《觸碰于可能的形狀──楊勁松作品》(2016-2018) Yang Jinsong’s Paintings: Touch the Possible Shape, 2016–2018(第40頁)
  • 以觀察、介入及記錄為策略:白雙全影像裝置藝術的後傘運創傷與可見性 Observation, Intervention, and Documentation as Tactics: Post-Umbrella Movement Trauma and Visibility in Pak Sheung Chuen’s Video Installations(第46頁)
  • 殷漪:對音景的空間化 Yin Yi: Spatializing Soundscapes(第59頁)
  • 打開譚浩的未分類好奇心櫥櫃 Inside Ho Tam’s Uncategorized Cabinet of Curiosities(第69頁)
  • 《那麼遠,又那麼近:我們之間的距離》中的覓故尋源 Searching for the Past in Far and Near: The Distance(s) between Us(第77頁)
  • 「重構一件事物是要理解它及其物質性」:與譚嘉文(Karen Tam) 談展覽《我們都是盜賊》 “To reconstruct an object is to understand it and its materiality”: A conversation with Karen Tam on Nous sommes tous des brigands/We are All Robbers(第83頁)
  • 中英人名對照 Chinese Name Index(第103頁)
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點數租閱 15點
租期7天
今日租書可閱讀至2021-01-26
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