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洛阳市固体硅胶隆鼻价格天涯专家郑大第一附属医院激光去掉雀斑多少钱

2019年10月24日 06:43:29    日报  参与评论()人

郑州注射去腋臭哪个医院好河南省华山整形医院激光去痘多少钱British artist LS Lowry#39;s paintings of industrial, working-class Britain brought him popular fame in the UK. Yet his works have never been the subject of a solo exhibition abroad - until now.英国画家LS 劳里的画作描述了工业时代下的、工人阶级的英国,因此在英国名声大噪。然而,他的画作从来没有单独在国外展览,但如今不是了。LS Lowry, with his depictions of everyday northern life, is one of Britain#39;s best loved painters. Popular he may be, but since his death in 1976, there have been accusations that the British art establishment has turned its back on him, finding his subject matter too working class.LS 劳里的画作描述了北方民众的日常生活,他因此成为英国最受追捧的画家之一。尽管他为人喜爱,但在1976年去世后,就有传言称英国画界把他抛在脑后,称他的作品的“工人阶级”味道过了头。There#39;s been public pressure for major galleries to do more to celebrate him and last year the Tate Britain put on a Lowry show. But remarkably, for such an icon of modern British art, no solo exhibition of his work has ever been held outside the UK. Until now. A collection of Lowry paintings is being shown at an exhibition in Nanjing in eastern China.大型美术馆若想庆祝他的作品,是要顶着公众的压力的,泰特物馆去年办了一场劳里的美术展。但值得注意的是,即使对于这样一个现代英国艺术的标志性人物,他的个人展出也仅限于英国国内。但如今不是了。在中国东部的城市南京,劳里的组画正在展览进行时。Lowry#39;s canvases depict a side of British life that#39;s now gone. The one above, Mill Scene, from 1965, is reminiscent of many of his paintings, with its smoke stacks and hurrying crowds of workers.劳里的画作里所描述的那些英国人的生活景象已经远去。上边的一张图是米尔辛1965年的作品,让人想起了他许多的旧作,里边画着林立的烟囱和疾行的工人们。Lowry#39;s subject matter may now be Britain#39;s past but it is, of course, very much a part of China#39;s present day. This is a photograph of one of Beijing#39;s train stations ahead of Chinese New Year when millions of migrant workers flock away from their factory production lines and head home.如今看来,劳里的主题描述的是英国的过去,然而,当然了,很大程度上是中国的现在。这张图展示的是北京站以及成百万的外来务工人员在农历春节返乡的景象,他们从工厂的生产线里解放了,返乡了。The exhibition came about following the chance meeting of Xiao Lang, a Chinese art consultant, and Andrew Kalman.中国美术顾问的小浪和安德鲁卡曼偶遇使得画展得以成行。Kalman#39;s father, Andras, was a private gallery owner in Manchester and a close personal friend of Lowry. He agitated for British art institutions to promote Lowry#39;s work overseas, but no solo exhibition was ever held outside the UK in either his or the painter#39;s lifetime.卡曼的父亲安德拉斯是曼彻斯特的一家私人美术馆馆主,和劳里的私交甚好。他呼吁英国美术界向海外推广劳里的画作,但是在安德拉斯或是劳里的有生之年,劳里的个人画作始终未在英国以外的地方展出。The curators hope Lowry#39;s paintings will resonate with Chinese audiences because they will see echoes of their own economic development and the problems it causes.美术馆长们希望劳里的画作可以让中国的观赏者产生共鸣,因为他们可以在这些画里看到自家的经济发展及其带来的问题。Detail from Bargoed, 1964巴格德港口写实,1964年作Xiao Lang points to notorious pea-souper smogs of Lowry#39;s day and the swathes of grey and white in Lowry#39;s paintings.小浪提到了劳里时代的恶名远播的滚滚黄雾,还有劳里画作里一条条灰和白的色带。;First of all the white sky,; she says. ;We have air pollution issues in China so the sky colour will definitely resonate with Chinese audiences.;小浪说:“首先是灰蒙蒙的天,因为在中国我们有空气污染的问题,所以天空的颜色绝对会让中国的观众产生共鸣。”Detail from Salford Street Scene, 1959索尔福德市街景写实,1959Lowry was not a political painter and this is not socialist art. He was, after all, for most of his working life, a rent collector.劳里不是一个有政治倾向的画家,这些画作也与社会主义无关。毕竟,他的一生中,大多出时间都用来收房租。But there is great affection for his subject matter and his very painting of it suggests a deep respect for the working communities that he was surrounded by.然而,他的题材仍受到广泛的喜爱,他的最好的画作传达出对身边的工人群体的浓浓的敬意。Rising Street, undatedThe people Lowry painted, like so many Chinese migrants today, were doing hard work for little pay.劳里画笔下的人们就像是许多如今的中国外来务工者,做着苦工,挣着小钱。Detail from Salford Street Scene, 1959索尔福德街景写实,1959Detail from Rising Street, undated莱辛大街写实,日期不详Cai Su Yun, a street cleaner in Nanjing stands in front of her favourite picture in the exhibition - Rising Street. She likes the dogs. ;It#39;s nice that he painted working people,; she tells me. ;Do you feel a connection?; I ask. ;Everywhere, we#39;re all the same,; she says.蔡素云,南京的一名道路清洁工,站在他最喜欢的展画——莱辛大街前。她喜欢,“他画了工作的人们,画的真好。”她对我说。“你感觉到自己和画的关联吗?”我问,“关联到处都在,我们简直是一模一样。”她说。Some see in Lowry#39;s decades of work, not a depiction of industrial strength, but a bleak portrayal of long industrial decline. Alongside the parallels with the present, Chinese audiences may well find hints and warnings about the future.劳里的几十年间的画作,在一些人看来,描述的并不是工业盛世,而是黯淡而长期的工业萧条。今日与昨日相比,中国的观众也许很容易找到未来的迹象和启示。Wasteground, 1940荒地,1940The exhibition at Nanjing University of the Arts runs until the 16 December 2014.南京大学的这次画展的展出截止日期到2014年12月16日。 /201412/348890郑州/去疤痕医院 Gabriel García Márquez, who died in April at 87, was a strong critic of American imperialism who was banned from entry to the ed States for decades, even after “One Hundred Years of Solitude” vaulted him to international celebrity and, in 1982, the Nobel Prize in Literature.加夫列尔·加西亚·马尔克斯(Gabriel García Márquez)今年4月去世,享年87岁。他曾猛烈抨击美帝国主义,曾有几十年被禁止进入美国,甚至在《百年孤独》(One Hundred Years of Solitude)让他成为世界名人,并在1982年获得诺贝尔文学奖之后也是如此。But now García Márquez, who was born in Colombia and lived much of his adult life in Mexico City, has “gone to Texas,” as they say.但现在,在哥伦比亚出生、在墨西哥城度过大部分成年时光的加西亚·马尔克斯,就像他们说的,要在“德克萨斯州落户了”。The Harry Ransom Center at the University of Texas in Austin will announce on Monday that it has acquired García Márquez’s archive, which contains manuscripts, notebooks, photo albums, correspondence and personal artifacts, including two Smith Corona typewriters and five Apple computers.周一,德克萨斯大学奥斯汀分校的哈里·兰塞姆中心(Harry Ransom Center)将宣布它获得了加西亚·马尔克斯的档案,包括手稿、笔记、影集、信件和私人物品——两部史密斯·科罗纳打字机(Smith Corona)和五台苹果电脑。At the Ransom Center, one of the nation’s leading literary archives — and the only one “in the country’s borderlands with Latin America,” noted Steve Enniss, its director — García Márquez’s literary remains will be preserved alongside those of James Joyce, Ernest Hemingway, William Faulkner, Jorge Luis Borges and other global figures.兰塞姆中心的主管史蒂夫·恩尼斯(Steve Enniss)指出,该中心是美国首屈一指的文学档案馆,也是唯一一个“位于美国与拉美交界地区”的文学档案馆。这里不仅拥有加西亚·马尔克斯的文学遗产,还有詹姆斯·乔伊斯(James Joyce)、欧内斯特·海明威(Ernest Hemingway)、威廉·福克纳(William Faulkner)和豪尔赫·路易斯·尔赫斯(Jorge Luis Borges)等其他世界文学大师的档案。“It’s almost as if James Joyce meets Gabriel García Márquez, whose influence on the 20th-century novel in some way mirrored his own,” Mr. Enniss said of the acquisition. “It’s very fitting that García Márquez is joining our collections. It’s hard to think of a novelist who has had as wide-ranging an impact.”“这几乎等于詹姆斯·乔伊斯与加夫列尔·加西亚·马尔克斯的相会,两人对于20世纪小说的影响力从某种程度上说旗鼓相当。”恩尼斯对获得马尔克斯档案一事说,“加西亚·马尔克斯加入我们的收藏非常合适。你很难想出还有哪位小说家有如此广泛的影响力。”The archive, purchased from his family, includes material relating to all of García Márquez’s important books, from the landmark “One Hundred Years of Solitude” — represented by the finished typescript sent to his publisher, bearing a hand-lettered title page and only a few corrections — to “We’ll See Each Other in August,” his final, unfinished novel, which exists in as many as 10 versions. Both the Ransom Center and the family declined to provide the price of the deal.这份档案是从他的家人手中购得的,包括与加西亚·马尔克斯所有重要作品相关的材料,从标志性作品《百年孤独》到最后一部尚未完成的小说《我们八月份再见》(We’ll See Each Other in August)——前者包括他发给出版社的最终打印稿,扉页上有他手写的书名,稿件中仅有几处改动;后者有十个版本。兰塞姆中心和他的家人都拒绝透露交易价格。“Solitude,” published in Spanish in 1967 and in English in 1970, may have transformed world literature and turned García Márquez into a global celebrity, but it is the messier drafts of subsequent books that may be of most interest to scholars.《百年孤独》的西班牙语版1967年出版,英文版1970年出版。它改变了世界文坛,让加西亚·马尔克斯成为世界名人,但是学者们最感兴趣的可能是之后几本书更混乱的草稿。“It’s like an open window into the lab of a renowned alchemist who didn’t always love the idea of having the recipes of his potions be known,” said Jose Montelongo, a Latin American literature specialist at the University of Texas who visited the García Márquez home in Mexico City with Mr. Enniss in July to evaluate the material. “They show you the weaknesses, the discarded versions, the eliminated words. You really see the struggle of creation.”“它就像打开了一位不爱透露魔水配方的著名炼金士的实验室窗户,”德克萨斯大学拉美文学专家约瑟·蒙特隆戈(Jose Montelongo)说。今年7月,他和恩尼斯一同前往墨西哥城加西亚·马尔克斯家中评估这份档案的价值。“它们展示出作品的缺点、舍弃的版本以及遭到删除的文字。你真的能从中看出创作的艰辛。”García Márquez certainly expressed wariness at the prospect of scholars picking over his traces. “It’s like being caught in your underwear,” he told Playboy in 1983.加西亚·马尔克斯当然表达出对学者们可能研究自己踪迹的警惕。“那就像你只穿条内裤被人看见,”1983年他对《》(Playboy)说。He destroyed his daily working notes and family trees for “One Hundred Years of Solitude,” according to Gerald Martin’s 2009 biography.据杰拉尔德·马丁(Gerald Martin)2009年的传记,马尔克斯销毁了《百年孤独》的每天工作笔记和人物家谱图。“My father was a perfectionist, and a perfectionist doesn’t show work in progress,” Rodrigo García, one of the author’s two sons, said in an interview. “He would always tell anecdotes about characters in the book he was writing, but would only show it when it was about 90 percent there.”“我父亲是个完美主义者,完美主义者是不会展示工作过程的,”加西亚·马尔克斯的长子罗德里戈·加西亚(Rodrigo García)在采访中说。“他经常谈论正在创作的人物的趣事,但只在差不多完成90%时才谈论。”The author did not object that his wife, Mercedes, saved manuscripts of later books, Mr. García said, but was “adamant” about more private material. On their engagement, family legend has it, he offered to buy back the love letters he wrote to Mercedes so he could destroy them.这位作家不反对妻子梅塞德斯(Mercedes)保留以往作品的手稿,但是罗德里戈·加西亚说,父亲对私密文件的态度“很强硬”。据他家里人说,订婚时,他要求买回写给梅塞德斯的情书,以便销毁。“I don’t think he wanted to leave a personal paper trail,” Mr. García said, calling his father a “phone person” who wrote few family letters. “What he would say was, ‘Everything I’ve lived, everything I’ve thought, is in my books.’ ”“我觉得他不想留下私人文件记录,”罗德里戈·加西亚说。他说父亲“爱打电话”,很少写家信。“他会说,‘我的生活和思想都在我的书里。’”García Márquez, who kept few copies of outgoing letters, did correspond with other writers. The estimated 2,000 pieces of correspondence in the archive include letters from Graham Greene, Milan Kundera, Julio Cortázar, Günter Grass and Carlos Fuentes, who in 1979 discussed preparing a letter with Mr. Cortázar “to publicly address the issue of U.S. blacklists.” (The travel ban against García Márquez, ostensibly stemming from his involvement with the Colombian Communist Party in the 1950s, was lifted by President Bill Clinton in 1995.)加西亚·马尔克斯确实与其他作家通过信,但只保留了少量信件。档案中的约2000封信包括格雷厄姆·格林(Graham Greene)、米兰·昆德拉(Milan Kundera)、胡里奥·科塔萨尔(Julio Cortázar)、君特·格拉斯(Günter Grass)和卡洛斯·富恩特斯(Carlos Fuentes)的来信。1979年,卡洛斯·富恩特斯在信中说他打算和科塔萨尔写一封“批评美国黑名单问题的公开信”(针对加西亚·马尔克斯的旅行禁令表面上是因为他在20世纪50年代与哥伦比亚共产党有牵连,1995年比尔·克林顿总统[President Bill Clinton]取消了这项禁令)。The archive contains little material relating to his friendship with Fidel Castro or to his political activities, not because anything was held back by the family, his son said, but because García Márquez preferred to conduct such business in person or on the phone.档案中几乎没有关于马尔克斯和菲德尔·卡斯特罗(Fidel Castro)的友谊或者他的政治活动的材料。他儿子说,这不是因为家人隐藏了这些材料,而是因为加西亚·马尔克斯喜欢当面或者通过电话处理这些事务。“My father believed in behind-the-scenes political work,” Mr. García said. “Like with his books, he was interested in the results, not necessarily in people knowing what had been done to achieve what.”“我父亲喜欢幕后政治活动,”罗德里戈·加西亚说,“跟写书一样,他只对结果感兴趣,而不一定想让人们知道他是如何实现的。”The archive, which was prepared for sale by the dealer Glenn Horowitz but has yet to be fully cataloged, does show García Márquez’s political side “in oblique ways,” Mr. Montelongo said.这份档案是经商人格伦·霍罗威茨(Glenn Horowitz)整理后出售的,不过仍需彻底整理。蒙特隆戈说,这份档案的确“隐晦地”展现出加西亚·马尔克斯的政治倾向。He cited correspondence with the Spanish-language edition of Life, in which García Márquez declined to be interviewed for that magazine because he felt it would create a false sense of Life’s openness to left-wing ideas.他引用了马尔克斯与《生活》(Life)杂志西班牙语编辑的通信。加西亚·马尔克斯在信中说,他拒绝接受该杂志采访是因为他觉得那会造成一种《生活》杂志包容左翼思想的虚假印象。The archive also contains notes on a 1998 visit to the White House, when García Márquez asked Mr. Clinton if he had any advisers who weren’t “fanatically anti-Castro,” Mr. Montelongo said.蒙泰隆戈说,档案中还有加西亚·马尔克斯1998年访问白宫的笔记,马尔克斯问克林顿他的顾问中有没有不是“疯狂反对卡斯特罗的人”。The more than 40 photo albums in the collection contain some images of Mr. Castro, as well as a visual chronicle of the private Gabo, as García Márquez was affectionately known throughout Latin America, beginning with his early life in rural Colombia, Mr. Montelongo said.蒙泰隆戈说,档案中的40多本相册生动记录了加(Gabo,拉美人对加西亚·马尔克斯的爱称)的私人生活,从他早年在哥伦比亚农村时起。相册中还有卡斯特罗的一些照片。There is also the matter of the unfinished novel. Mr. García, a director and screenwriter living in California, said he, his mother and his brother had not decided whether to publish that book, about a middle-aged married woman having an affair on a tropical island. It has been excerpted in The New Yorker and the Spanish newspaper La Vanguardia.还有未竟小说的问题。罗德里戈·加西亚目前生活在加州,是一名导演和剧作家。他说,他和妈妈、弟弟还没决定是否出版该书。它讲述的是一个热带小岛上一个已婚中年妇女发生婚外情的故事。《纽约客》和西班牙语报纸《先锋报》(La Vanguardia)已经刊登了它的节选。But that story was certainly not the last tale his father wanted to tell, Mr. García said.罗德里戈·加西亚说,那一定不是父亲最后想讲述的故事。He recalled a comment his father made not long before his death: “One of the saddest things about dying is that it’s the only event in my life I won’t be able to write about.”他回忆起父亲去世前不久说的一句话:“死亡最可悲的一点是,它是我生命中唯一不能用笔来讲述的故事。” /201412/346203河南省人民医院玻尿酸隆鼻多少钱

郑州大学第三附属医院激光去痘手术价钱费用The hundreds of gallery owners who apply each year to secure a coveted booth at Art Basel, the Swiss art fair, spend weeks on their admission applications. They describe the evolution of their galleries, track the history of their exhibitions and list the biographies of their artists. Then there is the matter of the “mock booths,” intricate sketches, miniature models, even virtual tours, of their planned exhibition spaces, complete with tiny reproductions of the exact works they hope to exhibit.每一年,几画廊主人都要递交申请,确保自己在瑞士巴塞尔艺术展(Art Basel)上拥有令人觊觎的一席之地。他们往往要花费几个星期准备申请资料,要描述画廊的进步,追溯画廊的参展历史,列出旗下艺术家的小传。之后还有“模拟展位”这件事:制作复杂的草图和微缩模型,甚至还有虚拟游览演示,以展现展览的预设空间,这些空间里放有与参展计划一致的微小的展品复制品。All to impress the fair’s selection jury, six fellow dealers who have become among the most powerful gatekeepers — and tastemakers — in the art world.这一切都是为了打动览会的评审团,评审团由六位艺术品交易商组成,他们是艺术界最有权势的把关者与品位评判者。“It is like the Olympics,” said the New York dealer Fergus McCaffrey, “or the European Champions League, and every good gallery and their artists wants desperately to compete.”“就像奥林匹克运动会,”纽约交易商弗格斯·麦卡弗雷(Fergus McCaffrey)说,“也有点像欧冠,所有好的画廊和画廊旗下的艺术家都拼命地想参加竞争。”As the art market explodes in value and collecting becomes a global treasure hunt, the importance of showing at art fairs has soared, too. Fairs now account for about 40 percent of gallery sales by value, and as collectors flock to destination bazaars in places like Paris, London, New York, Miami and Maastricht in the Netherlands, dealers, museum curators and art-world groupies follow.随着艺术市场的价值迅速爆炸,收藏成了全球的寻宝活动,在艺术展会中展示自己的重要性也随之上升。如今,艺术展览会上的销售额约占画廊销售额的40%,收藏家们集中在巴黎、伦敦、纽约、迈阿密和荷兰的马斯特里赫特(Maastricht)这些地方的大市场;交易商、策展人和艺术界的“骨肉皮”们亦随之而来。And perhaps no fair, dealers say, is harder to get into than Basel, where for the privilege of paying ,000 to ,000, galleries get to sell to the highest of high-end collectors, build relationships and burnish their reputations by sharing space with the best dealers in the world.交易商们说,最难打入的展会或许还要算是巴塞尔,参展需付5万至8万美元,在这里,画廊可以把作品推销给最高级的收藏家, 参展人可以和世界上顶尖的交易商共处一室,建立业内关系,提升自身口碑。“It is like getting admitted to a club,” said Jeffrey Deitch, a private art dealer and former museum director and gallerist who waited seven years before the doors opened to him in 2006.“就像获得了俱乐部的准入资格,”私人艺术交易商、前物馆馆长和画廊经营者杰弗里·戴特什(Jeffrey Deitch)说,他等待了七年,终于在2006年得到了进入巴塞尔的机会。At first glance, the chances of being selected for the fair, which begins on Tuesday, don’t seem so slim, with about 900 galleries from around the world vying for the nearly 300 booths. But a look at the last seven years of the Basel lineup reveals a reality of much longer odds for newcomers, as a roster of veteran galleries end up dominating the fair year after year.展览今年的准入评选程序将于周二开始,全球900个画廊竞争大约300个展位,乍看上去机会并不是那么小。但是看看近七年来巴塞尔的参展阵容就会发现,对于新来者,机会确实很小,年复一年,都是同样一批资深画廊在主宰着展会。The result for Basel aspirants can be a regimen of yearly disappointment, even for well-established names.巴塞尔的候补者们可能每年都要经历例行的失望,就算那些已经很有名气的人也是如此。Anke Kempkes, a respected Manhattan dealer, has applied unsuccessfully at least five times. Dorsey Waxter, who is president of the Art Dealers Association of America and helps organize the popular New York Art Show, has failed for years to get in.恩克·坎普克斯(Anke Kempkes)是一位颇受尊敬的曼哈顿交易商,他已经连续五次申请失败了。多尔塞·瓦科斯塔(Dorsey Waxter)是美国艺术交易商协会(Art Dealers Association)主席,帮助组织很受欢迎的纽约艺术展,她也失败了好几年。“I have been with the in-crowd at the Art Show but I am not in Basel,” Ms. Waxter said.“我已经打入艺术展的时髦小圈子,但还是没法进入巴塞尔,”瓦科斯塔女士说。A Little Fair Grows Bigger从小展览起家It wasn’t always this way. When Art Basel began 45 years ago in a staid Swiss town best known for banking regulations, it was primarily a fair for European galleries hoping to sell Modern and contemporary art to the growing ranks of mainly European collectors.一开始并不是这样的。45年前,巴塞尔艺术展在这座一本正经、以业而闻名的瑞士小镇上开幕,基本上只是一个欧洲画廊的集会,让画廊能把手头的现当代艺术品出售给日益增加的收藏家们。这些收藏家主要来自欧洲。Galleries were usually invited back year after year. But a jury system, introduced later in the 1970s to screen applicants, gradually became more rigorous as Basel leveraged its Swiss efficiency, convenient location and five-star service to attract and cultivate an ever wealthier and more demanding clientele.年复一年,通常是艺术展邀请画廊。但到了70年代,筛选参展画廊的程序中突然引入了评审团制度。筛选标准愈来愈严格,巴塞尔也开始利用瑞士便利的区位条件和五星级务吸引和培育更加富有、需求更大的大客户。Today, V.I.P. collectors are lavished with Champagne breakfasts, lectures, tours, BMW car service, and most important, early access to the fair so they can buy the best art first.如今,贵宾收藏家们在巴塞尔一掷千金,享受香槟早餐、演讲、旅行、宝马车务,不过更重要的是可以提早参与艺术展,抢先买下最好的藏品。These days Basel draws about 92,000 visitors to its six days of connoisseurship, selling and schmoozing. Many attendees are just window shoppers paying for a day pass to watch the world’s richest people buy the planet’s most expensive art, like the person who paid around million last year to walk away with a Warhol “fright wig” self-portrait (sold by Skarstedt, of New York and London). Axa, an insurance company that is one of the fair’s sponsors, estimates that more than billion worth of art will be put up for sale at the fair this year.如今,为期六天的巴塞尔艺术展上充满了赏鉴、交易与闲谈,能吸引到9.2万名参观者。许多参观者都只是花50美元买一天的票,只看不买,看着世界上最富有的人如何买下这个星球上最昂贵的艺术品,比如去年某人如何花费约3400万美元买下沃霍尔(Warhol)有着“可怕的假发”的自画像(这幅画由纽约和伦敦画廊Skarstedt出售)。阿克萨保险公司(Axa)是艺术展的赞助商之一,它估计今年艺术展上出售的艺术品价值在30亿美元左右。As Art Basel’s influence has grown, so too has the power of its jurors, each of whom typically serves for five to 10 years.随着巴塞尔艺术展影响力的增长,评委们的权力也在增加,他们每人的任期一般是五到十年。“I imagine,” said Amy Cappellazzo, an art adviser, with perhaps a touch of understatement, “being a member of this committee would make you popular among your peer group.”“我猜想,”艺术顾问艾米·卡佩拉佐(Amy Cappellazzo)用轻描淡写的语气说,“当上这个委员会的成员会让你在朋友们当中更受欢迎一点儿。”Marc Spiegler, the director of Art Basel, a Swiss company that also runs art fairs in Miami and Hong Kong, said he chooses the committee for Basel with an eye to balancing geography and taste, seeking experienced jurors of such standing that other dealers will accept being judged by them. Because five of the six votes are needed to mit an existing gallery and four of six to put a new gallery into contention for the remaining slots, he said there was no way for a single juror to torpedo a gallery’s chances.巴塞尔艺术展是一家瑞士公司,同时还运营迈阿密和香港的艺术展,公司总监马克·斯皮格勒(Marc Spiegler)说,他在选择巴塞尔艺术展的评审委员会时要平衡地域与品位,要寻找有经验、有地位的评委,好让其他交易商可以心悦诚地接受他们的评判。如果一个已经参展的画廊希望继续留在今年的展会中,需要六名评委中有五名给它投票;四名评委投票才能令一个新画廊成为空缺席位的候选者,然后再由评委进行讨论,斯皮格勒说,单凭某一个评委是无法破坏某个画廊的机会的。The jurors, who separately operate German, Swiss, Italian and American galleries, begin their work about 11 months before the fair. In a series of gatherings, they and their advisers discuss their selections, vote, consider appeals and ponder larger questions: Should they include contemporary Chinese artists? Yes. Art by artists coming of age in the digital era? Definitely.评委们在德国、瑞士、意大利与美国各自运营着画廊,在展会开展前11个月便开始了评审工作,他们会和顾问讨论自己的选择、投票,要考虑画廊的吸引力,还有更宏大的问题:他们应该把当代中国艺术家吸收进来吗?应该。电脑时代成长起来的年轻艺术家们的作品呢?当然也应该。Once the fair starts, jurors arrive each morning at 8 to make sure that galleries that have sold items the day before do not replace the empty spaces on their walls with inferior art. If they have, dealers could be shown the door.展会一开始,评委们就会每天早晨八点赶到会场,检查那些在前一天售出作品的画廊是否会在空出来的地方放上质量低劣的作品。画廊这样做会被赶出会场。For their efforts, jurors are paid a small honorarium and expenses, and they routinely have their ears chewed by eager supplicants.评委们可以得到一小笔礼金和报酬,平日里,急切的申请者总会在他们耳边喋喋不休。“Someone is trying to kiss you somewhere — metaphorically speaking,” a former juror, Claes Nordenhake, said of the lobbying. “And you know that the reason is not because they love or respect you but because they want to come close to the fair.”“总有人想拍你的……马屁,”前评委克拉斯·诺登海克(Claes Nordenhake)谈起这些游说行为。“你知道,这不是因为他们爱你、尊敬你,是因为他们想接近展会。”The process has its critics.评审过程受到一些批评。Gerd Harry Lybke, director of a German gallery, Eigen +Art, a frequent Basel exhibitor who was denied admission in 2011 but mitted the next year and now regularly shows, said the selection panel should consist of museum directors and curators rather than rival dealers.德国画廊Eigen +Art的总监戈尔德·哈里·里布克(Gerd Harry Lybke)是巴塞尔的常客,2011年,他拒绝参展,但翌年又重新参展,现在也一直参展,他说评委会应该由物馆总监和策展人组成,而不是有竞争关系的交易商们。“If it were a car fair, would the judges be other car companies?” he said.“如果开一个汽车览会,评委难道会是来自其他汽车公司的人吗?”他说。Dealers have sued (unsuccessfully), and in the late 1990s the Swiss authorities, reacting to the fair’s market power, reviewed whether the fair violated the country’s antitrust provisions. No violations were found, but the authorities convinced the fair to create an appeals process for rejected galleries. (About 50 galleries a year appeal; about five eventually get in, after the fair asks them to up their games.)交易商们曾经诉讼过展会(未成功),90年代末,瑞士官方意识到展会的市场力量,调查该展会是否违背了本国的反垄断法。最后没有发现任何违法现象,但官方说展会为被拒绝的画廊开设上诉程序(每年有50个画廊上诉;最终会有五个画廊在艺术展要求他们升级展品后,得以进入展会)。“We bend over backwards to be fair,” said Lucy Mitchell-Innes, a juror, who formerly ran Sotheby’s contemporary art department and co-owns the New York gallery Mitchell-Innes amp; Nash.“我们想尽量做到公平,”评委露西·米歇尔-英尼斯(Lucy Mitchell-Innes)说,此前她曾负责苏富比的当代艺术部门,并与他人联合拥有纽约的米歇尔-英尼斯与纳什画廊(Mitchell-Innes amp; Nash)。The committee looks for galleries that, among other things, are cutting edge, reflect geographic diversity in the art market and can demonstrate they have developed an artist’s career.在众多条件当中,评委会最希望参展画廊拥有自己的特色,能反映出艺术市场的地域多样性,并展示出他们对艺术家发展自己事业生涯的帮助。“They have to evolve,” Mr. Spiegler said of the galleries.“他们必须不断进步,”斯皮格勒说。He said he travels the world encouraging emerging galleries to apply.他说自己周游世界,鼓励新崛起的画廊申请参展。“There is no tenure at Art Basel,” Mr. Spiegler said. “There is no seniority.”“巴塞尔艺术展不搞终身制,”他说,“我们也不搞排资论辈。”But that depends on how you define tenure and seniority.但这取决于你对“终身制”和“排资论辈”的定义。Try, Try, Try Again屡败屡战Most galleries admitted for the first time, or after at least one year’s absence, end up in second-tier locations at the fair, according to six years of fair data. And most are not invited back the next year. More established dealers — the Gagosians, Paces and Zwirners, who derive power from their superstar clients and artists — dominate the inner aisles of the ground and second floors of the main hall, considered by many the most sought-after real estate in the art fair world.根据六年来的艺术展数据,大多数第一次被允许进入艺术展的画廊,或者中间缺席了至少一年的画廊,最后在展会上都只能得到二线位置。他们当中的大多数翌年就不会再获得邀请了。而像加戈西安(Gagosian)、佩斯(Pace)与兹沃纳(Zwirner)这样的常客交易商则会沾旗下的超级明星客户与艺术家的光,占据主会场一层与二层的内侧画廊,很多人都觉得这是艺术界最受人觊觎的位置。On the ground floor, home to more than 100 galleries, typically about 90 percent were in the fair the prior year.在一层,有100多家画廊参展,一般而言,其中90%都是去年来过的。Mr. Spiegler said the fair had reconfigured the ground floor layout this year to place booths exhibiting similar art next to one another, a decision that meant lots of galleries had to switch places. And the lineup of roughly 220 dealers in the fair’s main section, known as the Galleries sector, will feature a host of faces not present five years ago, he said.斯皮格勒说,艺术展今年重新布置了一层的格局,把展出较小型艺术的摊位放在一起,这样不少画廊就得互换位置。他说,这一次,参加艺术展主单元(名为“画廊单元”)的大约220名交易商中,有不少人都是五年前还没有出现的。“We feel that a turnover of 60 galleries in five years in the Galleries sector is a reflection of the development and changes within the art market,” he said.“五年来,在画廊单元中,有60家画廊被替换掉,这种流动性反映出艺术市场的发展与变化,”他说。Newcomers do break into the elite ranks and stick around, sometimes replacing veteran galleries. Consider Mr. McCaffrey, the New York dealer, who first applied for the 2011 fair, was admitted in 2012 and has returned every year since. He described his selection as “one of the most memorable moments of my life.”有些新来者的确打破了精英阶层,并坚持下来,有些画廊取代了老画廊。纽约交易商麦卡弗雷2011年第一次申请参展,2012年被允许参展,之后每一年都能来参加展会。他形容自己的入选是“这一生最值得纪念的时刻之一。”Commercially, it makes sense to favor galleries whose status and drawing power is part of the fair’s appeal. “These galleries make the whole fair stronger to the benefit of everyone,” said Sam Keller, Mr. Spiegler’s predecessor in directing the fair. “You think twice before you kick any of them out.”从商业角度而言,持那些有地位、有权势的画廊也是展会的诉求之一。“这些画廊让整个艺术展更有实力,这对所有人都有好处,”在斯皮格勒之前的巴塞尔总监山姆·凯勒(Sam Keller)说,“让任何人出局都得经过深思熟虑。”And the veterans do not approach the fair lightly. A representative for the Manhattan gallery David Zwirner said that it saves its best material for Basel. A glossy catalog of Zwirner artists goes out to 1,500 buyers on the eve of the fair.那些资深画廊也不敢慢待巴塞尔。曼哈顿画廊“大卫·兹沃纳”(David Zwirner)的一位代表说,画廊把最好的东西留给巴塞尔。在展会前夕,一份印刷精美的兹沃纳艺术家名录被分发给1500名买家。Smaller galleries keep trying for Basel, and its alluring imprimatur. “It confers legitimacy,” said Cristin Tierney, a New York gallerist who failed to win entry this year but still plans to visit Basel.小一些的画廊仍在努力申请巴塞尔的参展资格,希望得到这份诱人的认可。“它授予你一种资格,”纽约画廊经营者克里斯汀·蒂尔内(Cristin Tierney)说,他今年没能获得入场资格,但仍打算去巴塞尔看看。Mr. Spiegler says the fair’s power sits heavily with those who make the decisions. “We know it is an existential issue for some galleries,” he said.斯皮格勒说,展会的权力大量集中在那些做决定的人们手上。“我们知道,对于某些画廊,这是生死攸关的大事,”他说。Ms. Waxter, who was rejected again this year, said she had no hard feelings. “That is what happens,” she said. “That’s life.”瓦科斯塔今年也再次遭到了拒绝,她说自己不觉得难过。“就是这样,”她说,“这就是生活。” /201506/382047郑州/华山医院削骨整形多少钱 Li Sao is a Chinese poem dating from the Warring States Period, largely written by Qu Yuan (340 - 278 ) of the Kingdom of Chu. One of the most famous poems of pre-Qin China, it is a representative work of the Chu Ci form of poetry.《离骚》是战国时期的诗歌,大部分由楚国屈原(公元前340-278)创作。作为楚辞的代表作,《离骚》是先秦时期最著名的诗歌之一。The title#39;s meaning has been debated about even in historical times. Sima Qian interprets the title as ;Woes of Departure; i.e. Qu Yuan#39;s exile, while Ban Gu interprets it as ;Encountering Trouble;. Sima Qian#39;s interpretation is the more adopted one, though recent scholars also theorise that Li Sao is simply a different way of writing Lao Shang; the latter is a generic name for a Chu song. In English the title is often translated as either The Lament or Encountering Trouble.“离骚”这个题目的意义在历史上颇有争议。司马迁将其翻译为“离别之悲痛”意指屈原被流放;班固将其译为“遭遇忧患”。尽管新进学者们认为“离骚”只是“劳商”的另一种写法,而“劳商”即楚国歌曲的总称,人们还是多以司马迁的译法为准。英语中“离骚”一般被翻译为“悲歌”或“遭遇忧患”。The poem has a total of 372 lines and about 2400 characters, which makes it one of the longest poems dating from Ancient China. While the precise date of composition is unknown it is one of Qu Yuan#39;s later works, written after his exile by King Huai I of Chu.《离骚》共有372行,2400余字,是中国古代以来最长的诗歌之一。虽然《离骚》的具体创作时间未知,但可以确定它是在屈原被楚怀王流放之后的作品。As a representative work of Chu poetry it makes use of a wide range of metaphors derived from the culture of Chu, including shamanistic elements such as divination and the presence of spirits, as well as references in ancient history and legendary figures. Because of these influences the poem is seen as an initiator of a Romantic tradition of poetry in China.作为楚辞的代表作,《离骚》中有大量源自楚国文化的比喻,包括占卜、显灵等萨满教元素,以及历史和神话传说中的人物形象。因此,这首诗开创了中国诗歌的浪漫主义先河。 /201506/381343许昌市人民医院打美白针多少钱

郑州省人民医院祛痣多少钱Google has invested in taxi firms, smart thermostats and even artificial intelligence but it is also setting its sights on immortality - or at least increasing our lives five-fold。谷歌的投资项目不但囊括出租车公司、智能恒温器甚至人工智能程序,他们还开始研究“长生不老”,或者说,如何能让我们的寿命至少延长五倍。In an interview with Bloomberg, Google Ventures#39; president Bill Maris said he thinks it#39;s possible to live to 500 years old。谷歌风投的执行董事比尔·马里斯在接受彭通讯社的采访时说:“人类是有可能活到500岁的。”And this will be helped by medical breakthroughs as well as a rise in biomechanics。这一目标的实现将借助于医学方面的突破和生物力学的崛起。He has aly ploughed money into genetics firms and cancer diagnostic startups and said: #39;We have the tools in the life sciences to achieve anything that you have the audacity to envision. I just hope to live long enough not to die.#39;马里斯已经投资了研究基因遗传的公司和肿瘤诊断公司,他说:“我们能通过生命科学的方法实现任何你能想象到的事情。我只希望能活得更久,不想死去。”Mr Maris founded Google Ventures in 2009 and oversees all of the fund’s global activities。2009年,马里斯建立了谷歌风投,并监管着全球的投资活动。He studied neuroscience at Middlebury College and conducted neurobiology research at Duke University。马里斯曾在米德尔伯利学院学习神经科学专业,并在杜克大学进行神经生物学研究。Elsewhere he has advised Aurolab in the development of a hydrophobic acrylic lens for cataract blindness, and helped develop Google’s Calico project。马里斯还在Aurolab公司为白内障盲开发防水丙烯酸眼球水晶体的过程中提供建议,同时推动谷歌Calico项目的发展。Calico is a research and development company set up in 2013 by Google and Apple to tackle #39;ageing and associated diseases.#39;2013年,谷歌和苹果公司建立了Calico研究与开发公司,致力于研究“衰老与相关疾病”。Google co-founder Larry Page said the project would focus on #39;health, wellbeing and longevity#39; and last September Calico partnered with AbbVie to open a research centre into neurodegeneration and cancer。谷歌的共同创始人拉里·佩奇 说,这个项目专注于“健康、幸福与长寿”。去年9月,Calico与艾维公司合作开办了一个神经退化与癌症研究中心。Although these firms are focused on extending life naturally, there is also a group that believes machines will be the key to extending out lives beyond 120 - an age that has been ed as the #39;real absolute limit to human lifespan#39;。这些公司专注于用自然的方式延长人类寿命,但还有一群人相信机械是将寿命延长至120岁以上的关键,因为120岁可以说是“人类最长寿命的绝对极限”。Google#39;s director of engineering, and colleague of Mr Maris, Ray Kurzweil has previously said that in just over 30 years humans will be able to upload their entire minds to computers and become digitally immortal - an event called singularity。谷歌技术总监雷·库兹韦尔曾预言,在未来30年,人类能够把他们的大脑上传至电脑从而实现永生,这个过程称为“奇点”。At the Global Futures 2045 International Congress in New York last year, Mr Kurzweil claimed that the biological parts of our body will be replaced with mechanical parts and this could happen as early as 2100.去年,在纽约举行的全球未来2045国际会议上,库兹韦尔称,最快在2100年,机械肢体将代替人类的生物肢体。 /201503/363759 Midu Pork Roll弥渡卷蹄Legend has it that in the Qing Dynasty, a student from Midu(a county in Yunnan Province) went to Beijing for the national examination, bringing with him a small jar of Midu Pork Roll, which was highly praised by some scholars after tasting. At the news, the owner of a local restaurant inquired the student of the recipe and succeeded in cooking the dish after many failures. Mesmerized by the delicate food, scholars and chancellors in the capital soon became the frequent of this restaurant. One day the emperor overheard the conversation between two chancellors about the food and decided to visit the restaurant. After enjoying the pork roll, he was deeply impressed by its unique flavor—sour but with a slight trace of sweet taste. Hearing of this, people flooded to this restaurant, even willing to wait in line for hours, just for a bite of the legendary food.相传在清朝年间,弥渡一位赴京赶考的学子,带了一罐卷蹄到京城,被一些学者有幸品尝后倍加赞赏,后来竟惊动了皇上,并降旨御口亲尝弥渡卷蹄,从此弥渡卷蹄就名声大振,传扬四方。 /201504/372196南阳市假体丰胸多少钱郑州韩式纹眉哪家医院好

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