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Korean Artist Explores Infinity1 at Guggenheim
One of America's most prestigious2 museums of modern and contemporary art is showcasing the work of Korean artist Lee Ufan.
Born in Korea, the 75-year-old has lived and taught in Japan, where he enjoys the respect of several post-war generations of intellectuals for his role in leading philosophical3 and artistic4 movements countering westernization.
New York’s Guggenheim Museum provides a unique backdrop for Ufan, because the museum’s continuous spiral ramp5 underlines infinity; a pivotal notion in his work.
“Marking Infinity,” Lee Ufan’s first retrospective in an American museum, gathers 70 paintings, sculptures and drawings. They fill the Guggenheim’s Rotunda6 floor and its six ramps7 - the late-period gem8 of architect Frank Lloyd Wright.
Ufan installed the retrospective himself during a three-week residency, uniting examples of five decades of his art into one continuous statement.
“For Lee Ufan, collaborating9 with the Rotunda space at the Guggenheim Museum has been an enormous leap forward for his own understanding of his own work," says Alexandra Munroe, the museum’s senior curator of Asian Art. "And he realizes that in essence, what the Guggenheim Museum is all about, which is the awareness10 of the body in space, is about many of the same ideas."
Ufan grew up through several wars and experienced the assault of modern culture, which interrupted ancient philosophical systems.
“What is at the essence of his art is uncertainty11 and things that are not fixed12 and things that are open and scattered13, and open to our interpretation14 and open to our experience and infinite," Munroe says. "The title of this exhibition is ‘Marking Infinity.’ Infinity is the opposite of finite, is the opposite of what is fixed. He is asking us to imagine a world where there is a coexistence between man and what he calls the other, man and nature, now and the past.”
In his installations, opposites coexist, as in sculptures where heavy rocks and steel are held impossibly in the air by clouds of cotton.
“And there is another very important idea that you see both in his sculpture and his paintings, which I call the ‘ethic of restraint,’" says Munroe. "He’s interested in the relationship between making and non-making - what he calls non-making."
Ufan tries to separate us from our backgrounds, histories, mythologies15 and psychological concerns. Devoid16 of narrative17, his art belongs to the school of here and now.
1 infinity | |
n.无限,无穷,大量 | |
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2 prestigious | |
adj.有威望的,有声望的,受尊敬的 | |
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3 philosophical | |
adj.哲学家的,哲学上的,达观的 | |
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4 artistic | |
adj.艺术(家)的,美术(家)的;善于艺术创作的 | |
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5 ramp | |
n.暴怒,斜坡,坡道;vi.作恐吓姿势,暴怒,加速;vt.加速 | |
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6 rotunda | |
n.圆形建筑物;圆厅 | |
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7 ramps | |
resources allocation and multiproject scheduling 资源分配和多项目的行程安排 | |
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8 gem | |
n.宝石,珠宝;受爱戴的人 [同]jewel | |
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9 collaborating | |
合作( collaborate的现在分词 ); 勾结叛国 | |
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10 awareness | |
n.意识,觉悟,懂事,明智 | |
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11 uncertainty | |
n.易变,靠不住,不确知,不确定的事物 | |
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12 fixed | |
adj.固定的,不变的,准备好的;(计算机)固定的 | |
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13 scattered | |
adj.分散的,稀疏的;散步的;疏疏落落的 | |
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14 interpretation | |
n.解释,说明,描述;艺术处理 | |
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15 mythologies | |
神话学( mythology的名词复数 ); 神话(总称); 虚构的事实; 错误的观点 | |
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16 devoid | |
adj.全无的,缺乏的 | |
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17 narrative | |
n.叙述,故事;adj.叙事的,故事体的 | |
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