Dating art ceurvels

The reading club is regarded as a practice and as a conversation as opposed to a project, though it at times connects to other projects. "哇宝!"是一系列以物物交换的形式构建的微型经济实验。参与者来自北京的各个阶层。一方面,贯穿每期"哇宝!"的核心模式是邀请大家把自己不要的东西收集到一起、通过交换找到新的宝贝。另一方面,每届哇宝都致力于改善原有交换系统不断追寻一个没有金钱的交换系统的可能性。 哇宝!第一期的主题思想是关于垃圾和回收的,主体内容包括与家作坊邻居宋家一起做糖葫芦,通过将故事换取小吃并开创了后来每届哇宝的高潮:令人血脉贲张的大拍卖。 哇宝!第二期的主题是循环性,带有关于农业种植的技术的讲座和如何在家就DIY废品变宝等。 哇宝!第三期关注的是另类经济模式,并举办了一些列关于该课题的讲座。哇宝!3将故事讲述作为换取代金券的必要条件(该系统崩溃并导致腐败的产生尽管我们当时有穿着制服的保安。) 最后并最为野心勃勃的哇宝!4设立了一个小票作废的机制,以避免挪用、盗用的发生。同时,这届哇宝!还通过参与缝被子与做公共演讲等各种凯恩斯式劳动刺激制造了挣得附加小票的条件。该物物交换会还为一系列艺术介入("二条艺术界节")提供了环境。 was to invite people to get rid of what they no longer needed and to find new treasures, each edition attempted to improve on its exchange system to explore the functional limits of a moneyless system of exchange.

The question of success or failure as it pertains to projects therefore only stands as relevant insofar as one's definition of what is desired from texts: information, self-education, debate, friendship? The theme of (candied hawthorn skewers) by Home Shop's neighbors, the Song family, and storytelling in exchange for refreshments, and inaugurated the pinnacle that capped each Wao Bao! addressed alternative economies, and hosted a number of lectures on the topic.

This service and facilities included desk space, wireless internet, a communal kitchen, and general use of Home Shop as a platform for exchange and skill-sharing.

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Home Shop was initiated in 2008 on OUYANG Xiao and Elaine W.HO、何颖宜 Rania HO、Asako IWAMA & Derrick WANG、Fotini LAZARIDOU-HATZIGOGA、麦巅 MAI Dian、Jonas NAKONZ、曲一箴 Twist QU、Julie REN、Igor ROGELJA、李山 Alessandro ROLANDI、植村绘美 Emi UEMURA、Reinaart VANHOE、王尘尘 Cici WANG、杨立才 YANG Licai、Michael YUEN、张小船 Boat.Z、张健伶 ZHANG Jianling、张献民 ZHANG Xianmin、朱峰 ZHU Feng 家作坊介于工作和娱乐之间,但它并不属于两者中的任一个,因为家作坊绝不会屈服于只追求结果,或者拘泥于某个理论亦或是调查的暴政。 "It stands somewhere between work and play, but it defeats both in its refusal to submit to the tyranny of accountability for results, theories and surveys." 如果我的结论是正确的那么我这一代人就要面对和接受作为艺术土壤的命运。 "If I was right about this, then my generation simply had to face up to our fate: we had to be that soil." 如何组织一种"让它发生"的结构? "How to organize the structure to 'let happen? "But this has only been several weeks of an ideological holiday. One that speaks of a different, brighter future." 计算工作量当然没有问题,但它只是一个意义生产过程的余数? "One could quantify this value by adding up one's billable hours, but does this mean that the intrinsic value of translation is a mere surplus, a remainder?" title="syndicate this site using RSS"家作坊,曾位于北京市中心旧城区的一条胡同里,2008年创办,是一个门市居所和艺术事业结合的自发项目。其空间和门面被用作一个审视公与私、商业交流与纯粹交流等相互接续往复的起点。通过多元交织的小型活动、介入及纪录,艺术家、设计师和思想者曾相聚于此,在家作坊这个开放平台上质疑现存的经济艺术产物。日常生活、工作及共同生活,成为了微观政治可能性及共同工作的探索。 家作坊于2008年由何颖雅年在小经厂胡同发起,两年后迁入到新空间,面积增加了250平米并由下列人员共同运作: 小欧 alleyways, the space and its window front were used as the beginning points from which to examine ways of relaying between public and private, the commercial and pure exchange as such.Artists, designers and thinkers came together via multiple, interwoven series of small-scale activities, interventions and documentary gestures, processes by which Home Shop served as an open platform to question existing models of economic and artistic production.

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