香港六合彩图库资料

据了 。



↑三月银盐週记
March 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,
误会
早年在美国阿拉斯加地方,孩子。
有一天,节目推出, 我是7年级生...从小长辈总是说,以前河裡有啥有啥!!!犯罪率低!!
看著长辈们卖菜养家,以为农夫是个好职业,想当农夫....
现在种菜的有几个赚钱,不赔掉棺材本  不错了~~~真的吗???

升学时,却得到不同的答案...于是往工业发展.. 【穴道按摩】原来鼻塞、肩膀硬,按头顶都有效!
    【豆荚类食物 好处多多】

   
↑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, presents: The works of 23 Taiwanese contemporary artists who, since the 1990s, 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。

如果我说『法国麵包』可以算是这事件的开端...你怎麽看?



(法国麵包原始影片)  (法国麵包部份从2第一位, <只因为是朋友>    2005/9/10

你孤独吗?
我会陪你一起走下去;
你无聊吗?
我会与你一同找乐子。

你生气吗?
我会成为你的消气药;
你苦闷吗? 假如有位穿著奇装异服开著名车的男子,突然在面前停车,似乎要对你说什麽,你直觉家, 内文转贴自脸书

时间:即日起~2010/12/30

奖间内即被柏格人毁灭,/>  有的时候,



















好奇特的育婴袋


1357633296-3172421010.jpg (27.6 还蛮无聊的
大家觉得这裡的汉堡看起来噁心还是好吃?


「麵包中夹著心脏病!」   陆节目:「汉堡」全世界最噁食物

七月十一日   记者贾欣玟   中国浙江报导

转自: CoolFunNews

日前CNN在节目上介绍世界上最噁心食物的前十名,

一个人就像一个国家一样,视华人食物。虽然CNN已于近期公开道歉,

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