이런걸로도 '작품' 못만들면 그건 정말 재능이 없는거다. 켁!
http://shopping.naver.com/detail/detail.nhn?cat_id=30017019&nv_mid=4141584107&frm=nv_model
Piano Quartet in Eb major op.47
Glenn Gould(piano)
Members of the Juilliard String Quartet 27:30
이 가운데 특히 제 3악장... 낭만주의의 극치!
Robert Schumann - Piano Quartet III.Andante cantabile Michelangelo Quartet, performer - - One of the most beautiful slow movements in Chamber music.
Symphony no.2 in c minor "Auferstehung"
1.Allegro maestoso
2.Anadante moderato
3.In ruhig fliessender Bewegung
4."Urlicht": Sehr feierlich, aber schlicht
5.Im Tempo des Scherzo
Ricarda Merbeth(soprano)
Bernarda Fink(mezzo-soprano)
Netherlands Radio Choir
Royal Concertgebouw Orchestra/Mariss Jansons 2006 87:12
★★★★★
원제 Mahler : Symphony No. 2 in C minor 'Resurrection' |
[수입] 말러 : 교향곡 2번 '부활' (길버트 카플란 버전) [2SACD Hybrid+DVD] |
마리스 얀손스 (Mariss Jansons) | 말러 (Gustav Mahler) | 로얄 콘서트헤보우 오케스트라 (Royal Concertgebouw Orchestra) | 네덜란드 라디오 합창단 (Netherlands Radio Choir) | 베르나르다 핑크 (Bernarda Fink) | 메르베스 (Ricarda Merbeth) | RCO | 2010-11-25 |
정가 : 31,700원 |
판매가 : 26,600원 (16%off, 5,100원 할인) |
시카고 대학의 쥴리아 랑베인은 엘리나 브로데루스의 사진 작업과 '세컨 핸드(?)'의 작업들을 뽑았다.
Julia Langbein is a Ph.D. candidate in art history at the University of Chicago.
Surprise is a legitimate reaction to finding one of the year’s best contemporary exhibitions in Monaco. The inaugural show at the Nouveau Musée Nationale de Monaco’s Villa Paloma, “La carte d’après Nature (The Map After Nature),” curated by photographer Thomas Demand, acknowledges that surprise. The show plays on the deep strangeness of the one-mile-squared leisure kingdom, on its heights of both nature and artifice, in works like Chris Garofalo’s intricate ceramic models of impossible sea creatures and Saâdane Afif’s absurd topographical map of a wave (Strategie de l’inqiétude [Strategy of Unrest], 1998). The artist-as-curator is one of the most interesting features of the show: For example, in designing a trompe l’oeil velvet-curtain wallpaper to surround Magritte’s paintings, he has (in his words) “taken many liberties where a professional curator might be accused of infringing.”
Liberties taken by professional curator Anne Dressen at the Musee d’Art Moderne de la Ville de Paris created the dynamism of “Second Hand,” a seven-month-long group show in which the expansive, permanent modern-survey collection of the museum was “infiltrated” by copies, imitations, and appropriations, from a Modigliani by legendary forger Elmyr de Hory to Olivier Mosset’s striped canvas Untitled, 1974, whose uniform bands are only infinitesimally wider than Daniel Buren’s. Playful interspersing of the “lookalikes” threw the spectator into investigative mode, ready to examine the authenticity of the masterpieces of the permanent collection.
Elina Brotherus’s photographs and videos have a consistent relationship with the history of painting, but one that is subtler than direct copy or citation. In a retrospective and then a follow-up show of new work at gbagency in February and March, one saw an initial confessional phase in the 1990s give way to an investigation of the compositional conventions of nineteenth-century painting, from the romanticism of Model Studies, 2002–, in which figures are viewed from the back against expansive landscapes reminiscent of Caspar David Friedrich, to the academicism of a marmoreal nude in Baigneuse, orage montant (Bather, rising storm), 2003.
이태리의 유진 비올라는 아브라모빅과 폴 매카시, Sk-Interfaces의 전시를 올해의 베스트로 뽑았다.
Eugenio Viola is a critic and Project Room curator at Madre Contemporary Art Museum in Naples, Italy.
“The Artist Is Present,” Marina Abramović’s dazzling retrospective at MoMA, was certainly among the finer exhibitions of 2010. Beyond the complex and constant play of references in her oeuvre, the show spectacularly reasserted the presence of the artist/shaman through a durational performance and a controversial decision to re-enact her historical performances. This was a solution that succeeded on a curatorial level, where the effect was unquestionable, as well as on a theoretical level: Abramović affirmed the radical subversion hic et nunc of the performative act while managing to stall the attenuation of “presence” that is a consequence of theatrical recreations.
“Pig Island,” Paul McCarthy’s first retrospective in Italy, was also noteworthy. The exhibition at the Palazzo Citterio (organized by the Fondazione Nicola Trussardi) was a journey into the artist’s hallucinatory weltanschauung, made via residual traces of past performances and found objects, all staging outrageous situations, verging on the obscene. Each installation presented pairs of figures that challenged boundaries and broke interpretive registers. The space as neutral container was transformed by the convergence of McCarthy’s works, and therein the social dynamics of politics and culture were subjected to symbolic, devastating, tragicomic and self-satisfied bad taste.
By contrast, “Sk-Interfaces,” which closed in early 2010 at the Casino Luxembourg, disrupted the present state of affairs and exposed artistic practices thriving on the margins. The exhibition investigated the best of Biotech art by focusing on an abrupt rematerialization of the art object in the passage from net art to wet art. Here, artists––faithful seismographers of their own time––absorbed the speed of technological innovation with a lucid madness, appropriating biotechnologies and genetic engineering while participating in the gradual spread of technology and science to the world of art. Standout pieces in the exhibition by Eduardo Kac, ORLAN, Stelarc, and Art Orienté objet, among others, were emblematic of these contemporary approaches.
Translated from Italian by Marguerite Shore.
Top honors for Rob Pruitt’s 2010 Art Awards went to the late artist Louise Bourgeois and Whitney Museum of American Art curator Chrissie Iles during a ceremony held at Webster Hall on December 8, 2010. Conceived by Pruitt as a performance-based artwork that follows the format of a Hollywood awards show, the annual event celebrates individuals, exhibitions, and projects that made a significant contribution to contemporary art during the past year. After opening with a restaging of Marina Abramović's Imponderabilia, mastermind Rob Pruitt and Master of Ceremonies Glenn O’Brien ascended the stage to greet the art-world luminaries in attendance before turning it over to cast of presenters including John Currin and Rachel Feinstein; Marina Abramović and Klaus Biesenbach; and Bill Powers, Jeanne Greenberg Rohatyn, and Jerry Saltz, of the Bravo television series Work of Art, who awarded winners in categories ranging from Blogger or Critic of the Year to New Artist of the Year.
Guests dined on a menu crafted by Roberta’s, of Bushwick, Brooklyn, and enjoyed performances by artists Martin Creed and Kalup Linzy, who was joined by James Franco for a ribald duet. But the night was more than mere revelry. As a shared fundraising event benefiting the Guggenheim Foundation and visual arts nonprofit White Columns, the Art Awards celebrated the liftetime achievement of Martha Rosler and Jonas Mekas, while an Artist-Educator Achievement Award, new to this year’s ceremony, went to Marilyn Minter. As Mekas accepted his award—a black-and-white silk-screened painting of an engraved trophy designed by Pruitt—he declared to his fellow artists, “We all have the same purpose—to make humanity more subtle and beautiful.”
View photos from the night on Flickr.
The complete list of nominees and winners is:
Alternative Space of the Year
WINNER Artists Space, New York
179 Canal, New York
Cleopatra's, Brooklyn, New York
Light Industry, Brooklyn, New York
Alternative Project of the Year
WINNER INDEPENDENT, New York
Apartment Show, various locations, New York
edia Int'l Group, Foundation Barbin, New York
Jennifer Rubell, Creation, Performa 09, New York
Artist of the Year
WINNER Louise Bourgeois
Marina Abramović
John Baldessari
Trisha Donnelly
Blogger or Critic of the Year
WINNER Jerry Saltz
Howard Halle
Paddy Johnson
Linda Yablonsky
Curator of the Year
WINNER Chrissie Iles
Massimiliano Gioni
Laura Hoptman
Neville Wakefield
Exhibition outside the United States
WINNER John Baldessari: Pure Beauty, Tate Modern, London
Rosemarie Trockel: Deliquescence of the Mother, Kunsthalle Zürich
Felix Gonzalez-Torres: Specific Objects without Specific Form, Wiels Contemporary Art Centre, Brussels
Matthew Barney: Prayer Sheet with the Wound and the Nail, Schaulager, Basel
Group Show of the Year, Gallery
WINNER Primary Atmospheres: Works from California 1960–1970, David Zwirner, New York
Lush Life, various locations, New York
Picture Industry (Goodbye to All That), Regen Projects, Los Angeles
Your History Is Not Our History: New York in the 1980s, Haunch of Venison, New York
Group Show of the Year, Museum
WINNER In & Out of Amsterdam: Travels in Conceptual Art, 1960–1976, Museum of Modern Art, New York
At Home/Not At Home: Works from the Collection of Martin and Rebecca Eisenberg, Hessel Museum of Art, Bard College, Annandale-on-Hudson, New York
Greater New York, MoMA P.S. 1, Long Island City, New York
2010 Whitney Biennial Exhibition, Whitney Museum of American Art, New York
New Artist of the Year
WINNER Tauba Auerbach
Michele Abeles
Liz Magic Laser
Ryan McNamara
The Rob Pruitt Award
WINNER Lena Dunham
Solo Show of the Year, Gallery
WINNER Trisha Donnelly, Casey Kaplan Gallery, New York
Claude Monet: Late Work, Gagosian Gallery, New York
Gelitin: Blind Sculpture, Greene Naftali Gallery
Jonathan Horowitz: Go Vegan! Gavin Brown’s Enterprise, New York
Solo Show of the Year, Museum
WINNER Marina Abramović: The Artist Is Present, Museum of Modern Art, New York
Heat Waves in a Swamp: The Paintings of Charles Burchfield, Hammer Museum, Los Angeles, and Whitney Museum of American Art, New York
Otto Dix, Neue Galerie, New York
Yves Klein: With the Void, Full Powers, Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C., and Walker Art Center, Minneapolis