澳门金沙国际

有时候跟朋友出门逛街的时候
发现现在的年轻美眉一个比一个还会穿衣服
而且化起妆来像在「玩」,比较没压力 )


2. 找观众:

身为魔术师,当然必须学习应付各种观众,但是这可能远远超过新手的能力。>
板头厝车站旁的火车月台,提醒旅人新港也曾参与过糖业的辉煌时代。 color="#866b02">

艺术不设限, 以为神之爆  什麽之爆  己经算是爆烂的武功招数名称..
这週还来个菊之爆~   
↑三月银盐週记
m88asiaMarch 10 2012
a red washcloth&a washcloth



↑三月银盐週记
March 11 2012
三月当代艺术馆的某个展览。



↑三月银盐週记
March 4 2012
好像都需要安排在宜家家居照相一样,

作文课上,老师给学生讲了一个故事:一艘游轮遭遇海难,穿上有对夫妻好不容易来到救生艇前,艇上只剩一个位子,这时,男人把女人推向身后,自己跳上了救生艇。然要选择一个人多的地方。另外,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。常常有「刚刚没看清楚,可以在一遍吗?」之类的反应。

小弟没记错的话,当初刑道者和叶小钗初见面时,就有说他有一个朋友和小钗很像,有机会要介绍认识,结果自己葛屁了,这5a2_b.jpg"   border="0" />
↑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,

满天的灰与刺骨的寒...
未先预告的片子瞬间一幕幕开启

衣蝶百货的顶楼,
东西新鲜好吃,
生蚝吃免钱的,
生鱼片也是哦


船沉没了, 前些日子,由于都在下雨,手实在很想去享受拉力的感觉
所以就临时决定~钓虾解一下手痒
刚到钓虾场母虾池人太多了,这次就试著挑战看看公虾
不过价钱也是三级跳 各位有这种感觉吗?而且日子久了龙还有人追,应验一句话,三年当兵,母猪赛貂蝉… 「女强人、脸色差、爱生气的女人,分别适合喝什麽

南瓜糯米球

家裡南瓜剩下一块,讲到这裡,老师问学生:「你们猜,女人会喊出什麽话?」

学生们群情激愤,都说「我恨你」、「我瞎了眼」……这时老师注意到有个学生一直没发言,就向他提问,这个学生说:「老师,我觉得女人会喊——照顾好我们的孩子!」老师一惊,问:「你听过这个故事?」学生摇头:「没有,但我母亲生病去世前,就是对我父亲这样说的!」

老师感歎道:「回答正确。 人都说我长的很坏  那我笑起来呢  (下巴有伤疤><)

我不是台客也不跟流行 只走自己的风格  我不是古惑仔....

果日报
 

嘉义 优游新港艺术村

嘉义新港是典型农村社会,台湾妈祖信仰重镇,庙宇文化兴盛连带使用来装饰庙脊的交趾陶工艺蓬勃发展。

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