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2019年12月06日 05:47:54来源:华报

Happiness in the real world is largely the result of prioritizing what’s really important for you, going after those things, and not being too picky about everything else. Of course, when you’re talking about fantasizing, you can have it all, as we’ve seen previously when men are asked for the characteristics of their ideal woman.现实的快乐大部分源自对自己最重要东西的选择和追求,而不对其他的事过多挑剔。当然若是幻想,那你怎么想都可以。当男士被问及自己理想女性的特点时,情况就是如此。So when a men’s magazine in Japan recently published the results of a similar survey, we weren’t surprised that the compiled average of the physical parameters were pretty strict. What was shocking, though, was the response given by one man, whose image of the perfect female figure isn’t just largely unattainable, it’s downright unhealthy.所以当一本日本男士杂志最近发布了一项类似调查结果时,我们毫不惊讶得出的平均身材标准是多么的严格。其中,一位男士的回答特别令人惊讶,他心目中的完美女性身材不仅难以达到,而且是一种极其不健康的身材。Twitter user Junnai shared one page of the questionnaire’s results. This page, though, is all about the physical, and with a section unabashedly declaring that the best breasts have both elasticity and a well-defined shape, there’s obviously not a lot of self-censoring going on. There’s a tale of the tape for the perfect body, and the non-round numbers seem like a pretty clear indicator that the figures are averages, with a height of 157 centimeters, a weight of 44 kilograms, a D-cup bust, and waist and hip measurements of 59 and 81 centimeters, respectively.Junnai在推特上分享了一页调查问卷结果。但这页调查结果全部是关于身材的,并且还非常大胆地写道,最佳胸部既要有弹性又要形状好,显而易见,这个调查对结果并没有做太多的筛检。调查得出的完美身材数据十分具体,像是一个清晰的平均标准,要求如下:身高157厘米,体重44公斤,D罩杯,腰围和胸围分别为59厘米和81厘米。Somewhat harder to find, though, would be someone fitting the description one man gave of his ideal woman.然而,其中有一位男士对理想女性的要求比较难达到。152 centimeters isn’t that tiny by Japanese standards, but 37 kilograms? There are indeed certain things that’s a fine weight for. For example, if you’re an eighth-grade boy who’s just started lifting weights, a 37-kg bench press is a modest, yet decent, starting goal.根据日本标准,身高152厘米不算特别矮,但36公斤呢?理想体重还是应该有个度吧。36公斤大概是多少呢?一个8年级男孩可从37公斤开始练习举重,这对他来说不高也不低,较为合适。For a person, though, 37 kilograms probably means either your caloric intake or number of limbs is lower than it ordinarily should be. That or you’re some kind of bird-like creature built for flight and have hollow bones.但对一个人来说,37公斤的体重可能意味着你的卡路里摄入不足,或是你的肢体有些残缺,要不然你大概是某种空心骨头的鸟类生物吧。Not everyone who participated in the survey was so fixated on numbers, either. Directly to the right of the 32 kilogram comment sown above is another e from someone else saying, “As long as she has a slim waist I don’t really care about how many centimeters it is.”但也不是每一个受访者都拘泥于数字。32公斤那条左边的另一条就说道,“只要她腰部纤细,我不在意数字是多少。”We should also point out that the magazine either didn’t know or chose not to reveal the age of the respondents. It’s possible the guy looking for a 37-kilogram girl is still in junior high, and thus isn’t thinking in terms of full-grown women, we suppose. Of course, it’s also possible that he just doesn’t have enough experience with real women to know how far out of touch with reality his fantasy is.还需要指出的一点是,杂志并没有透露受访者的年龄,这也许是因为不知道,还有可能是有意选择不透露。我们猜想,梦想着37公斤理想女性的那位男士有可能还是一个初中生,因此并不是在说成年女性。当然也有可能是因为他缺乏与真实女性的交往经验,不知道幻想与现实差得有多远。 /201407/311664。

  • YPRES, Belgium — The padlocked cage beside the driveway on the Butaye family farm near this town in western Belgium is almost full of rusting bombs again. Since January, Stijn Butaye has collected 46 mortar shells on his family#39;s 100 acres, World War I munitions he found among the sugar beet and potato fields, sometimes with the help of his metal detector.比利时伊普尔——布塔耶家的农场坐落于比利时西部的伊普尔城外,通道旁上了锁的笼子里几乎又装满了锈迹斑斑的炸弹。斯汀·布塔耶(Stijn Butaye)在自家的甜菜和土豆田里清除着第一次世界大战遗留的炸弹,有时也会借助金属探测仪。自今年1月以来,他已在这片100英亩的农田里,发现了46颗迫击炮弹。Mr. Butaye#39;s father, Luc, won#39;t even plow two of his fields for fear of what the blades might hit. Not long ago, a neighbor riding his tractor ruptured an aging shell, and the explosion sent shrapnel through his windshield, tearing off a chunk of his ear.布塔耶的父亲卢克(Luc)甚至不敢在其中两片田里犁地,生怕农具挖到地里的炸弹。就在不久前,一位邻居开着他的拖拉机引爆了地里一颗陈年炸弹。爆炸弹出的弹片击中了拖拉机的挡风玻璃,削掉了他耳朵上的一块肉。;You don#39;t know what could happen,; said Stijn Butaye, 26, who has built a small museum beside the barn with hundreds of items — including shoes and eyeglasses and razors and a perfectly preserved gas mask — that he has found on his family#39;s property. ;We just use that land for grazing the cows.;26岁的斯汀·布塔耶在谷仓旁建了一座小型物馆,用于陈列他从自家农场上挖出的大大小小几百件一战遗物,其中包括鞋履、眼镜、剃须刀等,还有一个完好无损的防毒面具。他说,“不知道会出什么事。那片地我们只用来放牛。”It has been 100 years since World War I erupted in these parts. The men who survived the thousands of miles of muddy trenches that surrounded this strategically important region are long gone and buried. But the earth, in its own way, has become the last witness, coughing up constant reminders of a bloody and relentless war that would demolish empires, leave at least 8.5 million soldiers and seven million civilians dead, and produce legacies that continue to play out today.距离一战在这里爆发已有百年春秋。当年从这片战略重地上绵延几千里的泥泞战壕中活着出来的将士们,如今也都早已溘然长逝,白骨入土。脚下的这片土地,某种程度上便成为了这场战争最后的见者,时而呈出一两件旧物,提醒着人们别忘记那场摧毁了多个帝国、夺去至少850万军人和200万平民性命、而且至今仍然影响着世界格局的残酷战争。Around Ypres, the Allies and the Germans fought for nearly four years in a marathon slugfest that produced some of the war#39;s most famous and deadly battles. It was here that the Germans first used chlorine and mustard gas on Allied troops. Yet neither side ever made much headway despite artillery barrages so fierce and long that they wiped away roads and villages, leaving miles in which not a building or a tree or a blade of grass was left.伊普尔一带,协约国与德军曾展开近四年的拉锯战,许多著名战役在此地上演,其间死伤无数。正是在这里,德军首次使用了氯气和芥子气武器对抗协约国军队。长时间的狂轰滥炸将这里的道路和村庄夷为平地,数英里内寸草不生,尽管如此,双方仍然僵持不下,战况停滞不前。The area became a battlefield when German forces wheeled north after being stymied in their initial drive on Paris in the war#39;s opening months in 1914. After that, the conflict shifted toward Belgium as the Germans tried a flanking maneuver and the Allies raced to protect their control of the vital French seaports of Calais and Boulogne. There, along a front stretching southward from the Belgian coast, the opposing armies settled in, turning fertile farmlands into nightmarish killing fields.这里之所以沦为战场,是因为1914年战争爆发的头几个月,德军企图速取巴黎而不得,遂转而北上。此后,德军又欲侧面包夹法国的重要海港加来和布伦,协约国军队拼力阻击。于是,双方军队在此安营扎寨,从比利时海岸一路向南,将昔日丰饶的农田变成了噩梦般的杀戮战场。Experts say that in one particularly intense three-month campaign in 1917, known as the Third Battle of Ypres, or the Battle of Passchendaele, the British alone fired more than four million shells. In the end, more than 500,000 men had been killed or wounded, and the constant shelling had turned the landscape into a lifeless swamp. Up to 30 percent of the artillery shells fired never went off, experts say. Some were duds, but many simply slid deep into the mud without exploding.专家称,在1917年历时三个月的恶战“第三次伊普尔战役”(又称“帕斯尚尔战役”)中,仅英方发射的炮弹就超过了400万枚。战役中死伤人数逾50万,连续不断的炮轰将这片土地变成死寂的废墟。据专家估计,多达30%的炮弹在发射后没有爆炸。其中有一些是哑弹,但还有很多是因为淤陷泥中而未能正常引爆。Over the years, many of those shells have begun to rise, some appearing even in fields that have been plowed many times before. Most years, there are two or three injuries from World War I munitions in Ypres and the surrounding villages. In March, two workers were killed and a third seriously wounded while handling a shell at a construction site.多年来,不少这样的炮弹开始冒出来,有些甚至出现在曾经多次耕犁过的田地里。在伊普尔及周边的村庄,每年都基本会有两三起一战残余炮弹炸伤人的事件。今年3月间,建筑工人在处理工地上的炮弹时发生爆炸事故,造成两死一重伤。The land here still holds so many explosives that almost every construction project poses a danger. Every turned spade has the potential to unearth not just munitions but bones, some carefully laid to rest in full uniform, others blown apart. A local highway stands half finished; work ended abruptly because the bulldozers began uncovering graves, and the British government quickly objected to the project.这里埋藏着太多的遗留炸弹,任何一个建筑工程都存在着安全风险。每次挥动铁锹,都有可能惊动地下的弹药,或是一堆白骨——有的军装齐整,有的残肢断臂。当地一处高速公路的修筑工程被戛然叫停,因为推土机翻出坟墓,英国政府随即对工程发出抗议。It is impossible to live around Ypres without feeling the weight of living atop a former battlefield where young men from Germany, France, Britain, Belgium, Australia, Canada and North Africa died, some as young as 15.居住在旧时战场上的伊普尔人,难以逃离历史沉重的记忆。在这里,来自德、法、英、比、澳、加和北非的年轻人,将生命遗失在林弹雨中,有的年仅15岁。Cemeteries are everywhere. Some are just small clusters of graves surrounded by stone fences beside country roads. Others are carefully laid out rows of crosses that seem to extend forever, crowned by huge monuments. In a German cemetery in the nearby village of Langemark, a patch of grass holds the bones of about 25,000 men, many of them unidentified.公墓随处可见。有的只是乡间路边石墙围起的几处青冢,也有的高碑耸立,十字架错落成行,绵延无边。附近的朗厄马克村有一处德军墓地,一小块草地下,埋葬着2.5万名德国将士,其中大部分的身份无从考。And yet more bodies always seem to be found. In recent years, as the city decided to develop an industrial zone along the Yser Canal, a local team of amateur archaeologists, calling themselves ;the Diggers,; have followed the bulldozers and uncovered the bones of 200 soldiers, only one of whom could be identified.尽管如此,还是不断有更多的遗体被发现。近年,伊普尔市政府决定沿伊瑟运河开发一个工业区。一个自称“挖掘者”的业余考古队顺着推土机找到了200名军人的尸骨,其中只有一人的身份得以确认。The archaeologists also unearthed a stretch of trench that has been partly restored for tourists. Aurel Sercu, one of the Diggers, walked the site recently, explaining how tunnels had led away from the trenches to an underground pump room, a changing area, a workroom and a stock of ammunition, all underwater now. If warm weather ever dries out the area, he said, the ground above might collapse, as has happened elsewhere.这些考古者还掘出了一段旧时战壕,现已部分修复,向游人开放。“挖掘者”成员奥莱尔·塞尔居(Aurel Sercu)最近来到战壕,向大家解释了这条沟渠如何把战壕与地下泵房、更衣区、工作间和军火库连通起来,而这些空间如今均已被水淹没。他说,如果有一天这片土地随暖热的天气而干涸,那覆盖在上面的土壤可能会坍塌,类似的事在其它地方已有发生。Much of what the Diggers found was either reburied with the soldiers or went to museums. But Mr. Sercu, a retired language teacher, has kept some of what was not wanted, including a broken crucifix, a harmonica and a pair of almost perfectly preserved wool socks found in the mud at the bottom of one of the tunnels.“挖掘者”发现的许多东西又随士兵尸骨一起重新入土,而另一些,则被请进物馆。不过,身为退休语言教师的塞尔居也自己保留了一些没有去处的物件,其中包括一个破损了的十字架、一口琴,以及在沟渠底部的泥土中挖出的一双完好无损的羊毛袜子。When an item, like a straight razor, had a name and number scratched on its side, Mr. Sercu tried to track down the soldier#39;s family. Once, he actually succeeded, but the soldier#39;s last living relative had just died. The woman#39;s husband sent Mr. Sercu a picture of the soldier and said he should keep the razor. Mr. Sercu handles the photograph with care.每当挖到镌刻了名字和数字的物件,比如折叠式剃刀,塞尔居便会试图寻找物件主人的家属。有一次他居然成功找到了,但是这名士兵的最后一位亲人正好也刚刚过世了。她的丈夫将士兵的一张旧照寄给他,并请他保管这把剃刀。塞尔居异常小心地收藏着这张相片。;This man died here, and he must know we are looking at his photo,; Mr. Sercu said. ;There is so much history here. You can#39;t help but become obsessed.;塞尔居说,“他在这里牺牲,他一定知道我们正在瞻仰他的照片。这里面有太多的历史,叫人如何能不着迷呢。”Officials in Ypres say there is more interest in the war today than there was 20 years ago. Tens of thousands of British schoolchildren come here every year, as do thousands of the soldiers#39; family members and history buffs, contributing about 40 million euros a year to the local economy. Joseph Verschoore, the deputy mayor of Ypres, said that even Germans were beginning to show interest.伊普尔的官员称,比起20年前,人们对一战的关注度提高了。每年都有上万的英国中小学生前来参观,另外还有数千名一战老兵家属和历史爱好者来访,为当地经济带来4000万欧元(约合3.1亿元人民币)的年收入。伊普尔副市长约瑟夫·维诃舒赫(Joseph Verschoore)说,就连德国人也开始关注这里。;I think before they were not always at ease,; Mr. Verschoore said. ;They were maybe afraid that the people here were still angry. But now there is more understanding that there was a regime there, and it was not very good for their people, either. Many of the German soldiers had no idea why they were here.;维诃舒赫说,“我想,以前他们心里多少有些不自在吧,担心这里的人们仍然对历史满怀愤恨。但是现在大家更加能够谅解了,知道当年德国是受控于某个政权之下,德国人本身也深受其害。很多德国士兵也蒙在鼓里,并不明白自己来到这里出生入死是为了什么。”But some bitterness lingers. Stijn Butaye#39;s grandfather, who bought the farm in 1960, was eager to rid it of any signs that the Germans had once camped there. He tried to blow up a bunker near the house, and objected to his grandson#39;s hobby.尽管如此,战争的伤痕并未完全愈合。斯汀·布塔耶的祖父在上世纪60年代买置了这片地,他恨不能把所有德军的痕迹统统清理干净。他曾试图炸除房子附近的一个地堡,对孙子的一战情结也坚决反对。;Whenever he takes a picture of the house, he cuts the bunker out,; Mr. Butaye said. ;He hates that it was a German bunker.;布塔耶说,“爷爷每次照房子的相片,都会避开这个地堡。他对这个德军地堡深恶痛绝。” /201410/339399。
  • TC Candler presents The 24th Annual Independent Critics List of the 100 Most Beautiful Faces--2013, which has been published every year since 1990, and in recent years has been seen by close to 40 million unique visitors from around the world.近日TC Candler公布了2013年第24届全球100张最美面孔——从1990开始该网站每年都会公布这个榜单,而且近年来这个榜单的浏览量已接近4千万。The Independent Critics aims to be a very international list and one that is inclusive of many cultures, lifestyles, professions and degrees of fame. The Independent Critics List intends to inform public opinion rather than reflect it. Aesthetic perfection is only one of the criteria. Grace, elegance, poise, joy, promise, hope... they are all embodied in a beautiful face.The Independent Critics致力于成为一份国际性的榜单,它囊括了世界各地很多种文化、生活方式、行业和名气。The Independent Critics榜单旨在展现公众意见而不是对公众意见作出评价。外表之美不是它唯一的评选标准,因为高贵、优雅、身姿、使人愉悦、前途无量、充满希望……这些特质都会展现在一张美丽的面孔上。34 countries are represented on the 2013 list. That number seems to go up every year as the list grows and expands. Of course, lists are very subjective... you will disagree with some of the choices, but perhaps you will find a new favorite. Every year, this list is populated by some legendary beauties who never seem to fade, but it is also replenished with the freshest and most promising talent from around the world.共有来自34个国家的面孔进入了2013年榜单。这个数字每年都会增加。当然,榜单是非常主观的……你可能不大同意一些面孔的入选,但也许你会找到你的最爱。每年在这份榜单上出现的有很多是人气一直居高不下的美女,不过也会有很多前途一片看涨的来自世界各国的新鲜面孔为榜单注入更多活力。Let#39;s check out the list!下面我们就一起来看一看!100. Rosie Huntington-Whiteley99. Aya Ueto98. Bella Heathcote97. Annasophia Robb96. Cynthia Addai Robinson95. Vanessa Hessler94. Woori93. Amanda Seyfried92. Antonia Iacobescu91. Soo Wincci90. Anna Konchakovskaya89. Marcela Guirado88. Louise Bourgoin87. Elena Satine86. Fan Bingbing85. Meghan Markle84. Giulia Arena83. Gabriella Wilde82. E-Young81. Nora Kubiliute80. Victoria Song79. Nora Arnezeder78. Kate Upton77. Golshifteh Farahani76. Holly Earl75. Jaekyung74. Doukissa Nomikou73. Sabine Jemeljanova72. Carice Van Houten71. Im Yoona70. Mishael Morgan69. Odeya Rush68. Elsa Hosk67. Maite Perroni66. Sooyoung65. Christina Hendricks64. Hannah New63. Lizzy62. Vica Kerekes61. Monica Bellucci60. Ayumi Hamasaki59. Rose Byrne58. Jurnee Smollett-Bell57. Lisa Tomaschewsky56. Haruka Shimazaki55. Kate Winslet54. Kristina Romanova53. Freida Pinto52. Aferdita Dreshaj51. Rachel Weisz50. Liu Yifei49. Tone Damli48. Emma Stone47. Mila Kunis46. Mirei Kiritani45. Keira Knightley44. Malena Costa43. Gianna Jun42. Imogen Poots41. Nozomi Sasaki40. Jennifer Lawrence39. IU38. Kate Beckinsale37. Kerry Washington36. Cintia Dicker35. Kate Bock34. Go Ara33. Natalie Portman32. Satomi Ishihara31. Sarah Gadon30. Zhu Zhu29. Laura Haddock28. Megan Young27. Amber Heard26. Lupita Nyong#39;o25. Lea Seydoux24. Song Hye Kyo23. Tamsin Egerton22. Meagan Tandy21. Lily Collins20. Jessica Jung19. India Eisley18. Selena Gomez17. Zara Larsson16. Nathalie Emmanuel15. Alison Brie14. Suzy Bae13. Alexandra Daddario12. Deepika Padukone11. Olivia Wilde10. Jessica Brown Findlay9. Kim Taeyeon8. Emma Watson7. Lena Gercke6. Alexandra Joner5. Camilla Belle4. Emilia Clarke3. Chloe Grace Moretz2. Nana1. Marion Cotillard美国电影网站TC candler公布了“2013年全球100张最美面孔”名单。曾以《玫瑰人生》夺得奥斯卡影后的玛丽昂·歌迪亚摘得桂冠,名列第二的是韩国女团Afterschool成员Nana,在《海扁王》中饰演“超杀女”的科洛·莫瑞兹与上届冠军“龙女”艾米莉亚·克拉克分列第三、四名。中国女星范冰冰、刘亦菲等也跻身该榜单,其中歌手兼演员的朱珠位列第30,为中国女星之首。 /201401/271651。
  • As Frieze week kicks off in London, so does the third Shanzhai Biennial — which does not occur every two years, but instead irregularly, whenever the artistic trio made up of Cyril Duval, Avena Gallagher and Babak Radboy comes together to focus their laser wits on the increasingly porous interstices of art, fashion and branding. Shanzhai Biennial is not an exhibition in any conventional sense of the word, nor is Shanzhai an actual Chinese locale. It’s a term that means “mountain stronghold,” slang for the breed of counterfeit products stockpiled in lofty, hard-to-access villages: name-brand knockoffs that are famous worldwide for their absurd, sometimes even poetic perversions of Western language.随着弗里兹艺会(Frieze)在伦敦开幕,第三届山寨双年展(Shanzhai Biennial)也开幕了——其实它并非每两年举办一次,而是不定期举行,届时西里尔·杜瓦尔(Cyril Duval)、阿韦纳·加拉格尔(Avena Gallagher)和巴巴克·拉德伊(Babak Radboy)这三位艺术家聚到一起,把他们激光般的智慧集中到越来越具有渗透性的艺术、时尚和品牌推广的隙缝中。山寨双年展不是传统字面意义上的展览,山寨也不是一处真的中国山寨。“山寨”指的是存放于高高的、难以到达的村子里的名牌仿制品,它们以对西方语言的荒谬甚至不无诗意的曲解而闻名于世。Together, the words “Shanzhai Biennial” stand for an apocryphal institution that is often described as an art project posing as a luxury brand — or vice versa. At various times it has functioned as both, though it has consistently eschewed strict identification as either. In London, Shanzhai Biennial No. 3, titled “100 Hamilton Terrace,” consists of two retail installations — one onsite at Frieze Art Fair, another at Project Native Informant gallery in Mayfair — devised as a multipronged real-estate marketing campaign for a #163;32 million mansion for sale in St. John’s Wood. Both installations are grounded by carpets done in a deep, prosperous red, with floor plans of the property printed in large format directly upon them. The walls are hung with light boxes illuminating advertisements for the house, featuring inquisitive models peering through the outlines of more floor plans. Collateral art objects — limited-edition keys commemorating the house, and haute Frieze Art Fair tote bags that trade standard-issue cotton for quilted black leather and a braided chain — are on view in vitrines. But the most prominent element of the installation, in the Frieze booth anyway, is the mansion’s hefty price tag: a steady stream of zeroes that marches, larger-than-life, across the wall behind the lacquered sales desk.“山寨”和“双年展”这两个词组合在一起代表一个并不存在的机构,它经常被描述为伪装成奢侈品牌的艺术项目或伪装成艺术项目的奢侈品牌。有时它同时具有这两种职能,虽然它一直不想被严格定义为其中任何一种。伦敦的第三届山寨双年展名为“汉密尔顿露台100号”(100 Hamilton Terrace),包括两个零售装置作品——一个在弗里兹艺术览会现场,另一个在梅费尔的本土作品通报画廊(Project Native Informant)。它被设计成一个包括多种元素的房地产营销活动,推销的是圣约翰伍德的一个售价为3200万英镑的宅邸。这两个装置作品都以艳丽的深红色地毯为背景,地毯上印着大幅户型图。墙上挂着灯箱,照亮这所房子的广告,广告中好奇的模特透过更多户型图向外凝视。玻璃橱窗里是一些附属艺术品——纪念这所房子的限量版钥匙,弗里兹艺会的高档大手提袋,它的材质不是那种普通棉布,而是用中间夹有棉花的黑色皮革做的,还带一条镶饰链子。但是这个装置作品最显眼的元素——在弗里兹艺会的展位上——是这个宅邸高昂的价签:涂漆销售桌后面的墙上排列着一长串醒目的零。“We really want to stress that this is real advertising and fake art and not the opposite,” says Radboy. Indeed, the artists stand to earn a bona fide .5-percent commission on the property when it sells. “Advertising has its own formal attributes that are really uncanny when you consider them — but get overlooked because the perspective of critique always treats advertising as some dumb stepchild of culture, easily encapsulated in terms like ‘commodity aesthetics.’”“我们真的想强调这是真广告,伪艺术,而不是伪装成广告的艺术,”拉德伊说。的确,如果房子售出,这三位艺术家将获得0.5%的佣金。“如果仔细考虑,你会发现广告具有非常神秘的独特形式属性,但它被忽视了,因为批评家们总是把广告看作文化的愚蠢继子,随意地把它概括为‘商品美学’。”The project’s centerpiece, though, is artful indeed: a promotional produced for the address, which makes its premiere here. Scored by a Shanzhai interpretation of Sinéad O’Connor’s “Nothing Compares 2 U” in Mandarin, which the Biennial originally created for an earlier shown at MoMA PS1, the advertisement pushes in on domestic scenes from within 100 Hamilton Terrace, juxtaposed with Chinese models stoically enjoying their plush environs. It’s a Kuleshov cocktail of exoticism — evident in both the quintessentially English details of the house and its uncannily posed inhabitants — and globalized, aspirant values.不过,这个项目的中心作品的确非常艺术化:它是为这座宅邸拍摄的宣传片,在这里首次展示。宣传片的配乐是山寨双年展对西妮德·奥康纳(Sinéad O’Connor)的《没什么能与你相比》(Nothing Compares 2 U)的中文演绎,最初是他们为一个早期视频创作的,曾在现代艺术物馆(MoMA)PS1馆展示。宣传片在展示汉密尔顿露台100号的室内景致时,融入了中国模特们在其中恬淡享受奢华环境的镜头。它具有库列绍夫(Kuleshov)的电影风格,融合多种异国情调,既有房子典型的英式细节,又有一些姿态怪异的住户,具有雄心勃勃的全球化价值观。“The fair itself is so evocative of real estate,” Radboy continues. In a tented swath of Regent’s Park, Frieze is cut up into hundreds of contiguous stalls that rent by the day for five-figure sums. Shanzhai Biennial’s booth is in a prime position: the only one along the hallway through which fairgoers enter. “In the end, I think the advertising campaign has more in common with a military campaign: It is first and foremost concerned with territory and not cash.”“这场艺会本身很容易让人想起房地产,”拉德伊继续说道。艺会位于摄政公园里的一片搭起帐篷的地区,包括成百上千个毗邻摊位,每日租金都是五位数。山寨双年展的展位处于黄金位置,是唯一一个沿过道的展位,参观艺会的人都得从这儿经过。“说到底,我觉得广告宣传活动与军事战役有很多共同点:它们在乎的是疆域,而非钱。”“As an agency, we routinely spend tens of thousands of pounds promoting fine homes, yet our advertisements and marketing initiatives often frustratingly create barely a ripple amongst top-end buyers,” explains Aston Chase’s Mark Pollack, the listing agent who convinced his clients to bring Shanzhai Biennial on board to create an abstract take on what is usually resigned to the rote, ineffective methods he describes. Pleased with the parade of millionaires who will be passing by the display all week, the two companies are aly talking about future collaborations.“作为中介机构,我们通常花费数万英镑宣传高端房产,但我们的广告和营销活动常常令人失望,在高端买家中几乎没引起任何反响,”阿斯顿·沙斯房地产中介公司(Aston Chase)的卖方代理人马克·波拉克(Mark Pollack)解释说。他认为普通的宣传方法陈腐无效,劝客户们让山寨双年展加入进来,从抽象视角进行阐释。双方对本周将经过这里的百万富翁感到满意,已在商谈未来的合作。And what’s next for Shanzhai Biennial? In Chinese culture, the number four is a near-homophone for “death,” so the group plans to skip forward to Shanzhai Biennial No. 5.山寨双年展的下一个项目是什么?在中国文化中,数字四的发音与“死”接近,所以这个艺术家团体计划把四跳过去,直接举办第五届山寨双年展。 /201410/337312。
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