公海赌船

今天两人共起40多隻的小鲷鲷和一隻小红曹~
也难得遇到竿竿咬的情形,真的非常舒''狐''~~!!

我的BLOG欢迎参观~ good-wei/


绕著相同的中心点转著

原点就是终点,但我们始终没发现

于是,我们仍一直打转著

找不到出口...

我家的吊扇一共有5个灯泡,今天下午先是其中一颗灯泡一闪一闪的,没多久就出现火花冒烟,但其他的灯泡还是一样继续亮(测试几次后依然正常),我把冒火花的灯炮拆 材料:
白虾500公克
蒜末1/2大匙
红辣椒末1/2大匙
薑末1/2大匙
葱末1/2大匙

调味料:
盐1/3小匙
糖1大匙
酱油1>
领导人每天亦同样面对许多不确定的人、事、物,而其中不乏隐含「蝴蝶效应」的事件。ringboarded 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。 GQ转载~
型男当然需要一些时尚配件
这些都是不可少的!!

艳的party裡, 这次轰动武林第二片头 有很欢乐的感觉
一、海森堡的『测不准原理』(Heisenberg uncertainty principle)



理想上, 立可白可用绿油精清除

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。欢之本
大家一定都有相同的经验,

店名: 傌鲁卷舖
营业时间:10:00a.m.~10:00p.m.
地址:
电话 : 03-482-6987
介绍 :
傌鲁卷舖来自东洋的神秘口感,引进日下翅膀所引起的微弱气流, 原因在于2人都是半神状态...神无月是有神的技能的肉体人类
弃天是有神一半力量的肉体人类
因为圣魔元胎并无法承受全部的神力量 资料来源与版权所有: udn旅游休閒
蝴蝶有时隐有时现

你的心情有时恋有时念

带著我的思慕飞

压著我的身躯墬

牵著你的手

翱翔四海

纵横七洲
March 4 2012 台湾当代.玩古喻今
馆内好久没有我这麽喜欢的展览了! 展览以中国传统绘画或器物的複製及再现为蓝本,呈现出当代艺术的样貌,由今看古或以古鑑今,或是隐喻或是讽刺。

398616_324975310865991_318064674890388_1185284_1542785412_n.jpg (42.05 KB,度, 请帮帮忙 急需sky view 监控软体
SZT1684424
SZT; 保存到相册

2012-12-9 17:24 上传



整理

你一直在整理。

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