"For De Certeau, the walking body moves in search of a familiar thing in the city. He invokes Freud, saying that walking recalls baby’s moves inside of the maternal body: ‘To walk is to be in search of a proper place. It is a process of being indefinitely absent and looking for a proper.’"
—Doina Petrescu, The Indeterminate Mapping of the Common
中、美、欧艺术精英全球交流项目 Global Exchange Program for Art Specialists in China, USA and Europe
• Wonderka Art Management, LLC, New York • Paris 依托北京艺海廊桥文化艺术中心、中国国际广播电台国际在线书画频道、国大公益等中国艺术传播机构，联合中、美、欧顶尖艺术机构和院校，在北京、上海、纽约、伦敦、巴黎等城市全面推出“中、美、欧艺术精英全球交流项目”。
第二期纽约文化艺术深度之旅（行程） The 2nd High-end Tour for New York Culture and Art
第1天，6月15日 (June 15th)
上午（Morning Events）：
参观美国艺术联盟 (American Federation of Arts)，了解如何与美国美术馆和博物馆进行项目对接
Visit American Federation of Arts and learn how to connect/collaborate with American museums and art museums.
下午（Afternoon Events）：
• 参观戈勃朗基金会 (Gabarron Foundation)，交流艺术基金会的管理与运作
Visit Gabarron Foundation and exchange experiences in the management and operation of art foundations
• 前往纽约第五大道购物，并参加世界顶级奢侈品牌Prada旗舰店的特许欢迎酒会。
Shopping at the 5th Ave and attend the welcome wine banquet at the Prada Flagship.
晚间（备选）：Evening Events (Optional)
前往纽约林肯中心（Lincoln Center）观赏纽约地标。Visit the Lincoln Center
Visit the Hort Family Collection. The Hort Family is well-known among the New York private collectors for their over 3,000 items in their collections after the endeavor of five generations.
下午（Afternoon Events）：
参观德意志银行画廊, 德意志银行有超过5万7千件藏品分布在全球900多家办公室
Visit 60 Wall Gallery, Deutsch Bank. It has over 57,000 items in the collection distributed among over 900 offices globally.
晚间（备选）：Evening Events (Optional)
前往百老汇大街欣赏景点剧目――歌剧魅影
Go to Broadway and watch the classic musical—The Phantom of the Opera
Visit Pioneer Works Center for Art and Innovation (Artist studios). The center helps produce creative work and social change. Collaboration between the arts and sciences is critical. Residency, educational and training programs are also offered in the center.
晚间（备选）：Evening Events (Optional)
哈德逊河豪华游轮夜游
Hudson River Night Cruise
第4天，6月18日 (June 18th)
上午（Morning Events）：
参观大都会博物馆，美国最大的艺术博物馆，共收藏有300万件展品
Visit Metropolitan Museum of Art, the largest art museum in America with over 3 million items in the collection.
下午（Afternoon Events）：
参观弗里克美术馆，该馆以收藏欧洲老油画闻名
Visit the Frick Collection, which is famous for its collection of Old Master Paintings from Europe.
晚间（备选）：Evening Events (Optional)
欣赏卡耐基音乐厅音乐会
Concert at Carnegie Hall
Visit Whitney Museum of American Art with over 21,000 items in the collection. The Whitney Biennale provides unique opportunities for younger and less well-known artists
Visit MoMA, which is often considered the most influential museum of modern art in the world. The museum's collection offers an overview of modern and contemporary art, including works of architecture and design, drawing, painting, sculpture, photography, prints, illustrated books and artist's books, film and electronic media.
Visit National Gallery of Art, the Gallery's collection traces the development of Western Art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas
下午 （Afternoon Events）：
参观弗瑞尔美术馆和赛克勒美术馆，两者被合称为“美国国立亚洲艺术博物馆”
Visit The Freer Gallery and Arthur M. Sackler Gallery, which are called jointed as “NATIONAL Gallery of Asian Art”
第8天，6月22日 (June 22th)
上午（Morning Events）：
参观私人藏家收藏 Mr. David C. Levy
Visit private collections by David C. Levy
下午（Afternoon Events）：
参观纽约视觉艺术学院，被选为历史50年以来最重要的三所设计与艺术学院之一；也被评为在50年内最顶尖的设计专业学院。几乎所有美国历史上的美国动漫大片和特效大片都有SVA老师与学生的参与，包括玩具超人，蜘蛛侠，蝙蝠侠，功夫熊猫，赛车总动员，米老鼠与唐老 鸭，WALL.E, 海底总动员，等等
Visit School of Visual Arts, New York, which has been voted as one of the three most important schools that combine design and art in the past 50 years, as well as the No.1 design school in the past 50 years. Almost all the famous fimls and cartoons are related with professor and students from SVA, including Superman, Spiderman, Kongfu Panda, Car, Wall. E. Finding Nemo, etc.
"The following must go into my finished Directives: When you meet a Gethenian you cannot
and must not do what a bisexual naturally does, which is to cast him in the role of Man or
Woman, while adopting towards him a corresponding role dependent on your expectations of
the patterned or possible interactions between persons of the same or the opposite sex. Our
entire pattern of socio-sexual interaction is nonexistent here. They cannot play the game. They
do not see one another as men or women. This is almost impossible for our imagination to
accept. What is the first question we ask about a newborn baby?
Yet you cannot think of a Gethenian as "it." They are not neuters. They are potentials, or
integrals. Lacking the Karhidish "human pronoun" used for persons in somer, I must say
"he," for the same reasons as we used the masculine pronoun in referring to a transcendent
god: it is less defined, less specific, than the neuter or the feminine. But the very use of the
pronoun in my thoughts leads me continually to forget that the Karhider I am with is not a man,
but a manwoman.
The First Mobile, if one is sent, must be warned that unless he is very self-assured, or senile,
his pride will suffer. A man wants his virility regarded, a woman wants her femininity
appreciated, however indirect and subtle the indications of regard and appreciation. On Winter
they will not exist. One is respected and judged only as a human being. It is an appalling
experience."
"Affirmation here is not some sort of naïve, silly and candid-like “oh, I want the world to be a better place.” No, it’s a very gutsy engagement with the present. It takes a lot of courage to take on the present. It is very depressing stuff. If you want to do critical theory this way, you’re going to be a pretty gloomy person, a very depressed partner, and somebody that will never be invited to witty dinner parties, you will be just too depressed. So I always say, clock in and clock out; engage with the present just enough, and then have a good gin and tonic and get on with it, it’s Friday afternoon after all, so what the hell. But dosing the amount of horror that you take in, what Bourdieu called lamisère du monde, the misery, the wretchedness, that negative consciousness that is so much a part of critical theory, to actually fight for justice you have to take on the burden of the injustice. To want to improve the situation you need to take stock of what it is; it takes a lot of courage. No wonder many people just go out the door and do whatever they do in the science departments… I’m just doing this, I’m not looking at the global picture… In the humanities, in critical theory, in feminism, we look at the global picture. I have lost so many of my friends either to burn out, to early death, or to forms of completely opportunistic conformism, that I have started thinking seriously about the politics of affirmation as a praxis, as a practice; you engage with the horrors of the world, you take it in, we dose it very carefully in space and time, and then we process it. This is what I think the micro political comes down to. You dose it, you focus, you frame it, and you act on it. And you can only do it in very localized manners and in very sustainable doses. Because we critical theorists are just as human as others, slightly more mortal than most, however. And that vulnerability that comes with this courage, this recklessness, or taking on the misery of the world, is something that we need to add to the general picture, or the methodology or pedagogics of critical theory. We really don’t want any more dead heroes. And we don’t want anymore of our students fighting losing battles in the margins, facing poverty and precarity, we want you to succeed. And this means dosages."
—Rosi Braidotti, "Nomadic Feminist Theory in a Global Era" (lecture 2012)
“‘Young Architecture’ as a discrete catagory [sic] reflects the atrophied aspirations of our cultural moment, in which, among a generation poorer than our parents, a growing majority will be unable to graduate to architecture, freedom, home-ownership or traditional debt-free marks of vocational maturity − a subtle but de facto form of slavery is creeping up on us.
Meanwhile the healthy ecologies formed of intermediate-scale architectural practice coupled with critical journalism and socially minded procurement have decayed through a process of polarisation − towards the very large and the very small, Establishment and emerging. In this context of power vs exploitation, the term ‘Young Architecture’ offers a vehicle for a compromised partnership between a cosy architectural press, morally bankrupt late-capitalist development and a disenfranchised generation of graduates with limited options.
‘Young Architecture’: a tainted brand
Brand ‘Young Architecture’ is perilously close to becoming shorthand for a privileged clique purveying minor and pop-up buildings, instantly and uncritically published in a sycophantic hype driven by individualism, consumerism and an obsession with youth, in a way that increasingly apes the fashion industry. While the works themselves are consistently imaginative and delightful, demonstrating the skill of their authors, it is the term of ‘Young Architecture’ and the values it is coming to imply that must be interrogated.
‘Young Architecture’ makes a virtue of an injustice. The ageist mantle demands a level of knowing self-parody from emerging designers who it smothers as it belittles, imposing low expectations as default. In segregating architects into binary camps, the term smuggles through tacit approval for the Establishment while cementing the position of knowingly under-remunerated outsiders: the young.
(…) The reactive definition of an adolescent stage in career development places inflated emphasis on conspicuous displays of ‘authenticity’. Vulnerable, self-initiated projects necessarily embody a humane frugality. However, communicating this ethic in a visual language that is Tumblr-friendly constrains much of the work to a style measured in the thin rustic novelty of pop-up DIY-like production: chipboard, shipping containers, bare bricks, spontaneous installation and time-limited demountability.
Architecture has finally become fast enough to simulate the frivolity of throw-away fashion. But before it congratulates itself for this renaissance of dynamic participation and urban vitality, sedulous emerging designers should question the direct social consequences of the burgeoning pop-up industry which courts them and the widespread co-option of this architectural froth as a game of distraction. The permission for and sponsorship of such installations ties these energetic works to a broader political question around who owns the city for whom.”
— Phineas Harper, Phil Pawlett Jackson, The Architectural Review
Bacon's emotions are in every brushstroke. He's the real deal and you'll understand and feel that again at some point. You have a habit of changing your mind several times about an artist, which is fine, as long as it's genuine at the time you write, not because it keeps you in a job.
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MrPrintmakerHeathCardwell
34
Bacons emotions are in every film.He's the real deal and you'll understand and feel that when you watch Flash dance again.You have a habit of changing your mind several times about an actor(Tremors),which is fine as long as its genuine at the time you watch Stir of Echoes, not because it keeps you going to work
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MrPrintmakerMrPrintmaker
12
Bacons taste is in every pan that fries it.Its the real deal and you'll understand and taste that when you put it in bread .You have a habit of changing your mind several times about a meat,which is fine as long as its genuine at the time you put the sauce on it.
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HeathCardwellMrPrintmaker
12
OK, I get it, you're frustrated. We all know how that feels MrPrintmaker.
"If it was correct that the next step in art was predictable, then it didn't matter who took it. Anyone actualizing that step would enjoy some degree of acceptance based on the accuracy of apparent inevitability of that step. The steps might be suggested to someone else and they might produce the work, unaware of my influence. When their piece was accepted by either being published or shown, my piece would be completed. The principal worked, the process was predictable. I became somewhat apprehensive of the manipulative aspects of this direction and discontinued any further pursuit." — Raivo Puusemp quoted in Stephen Wright, "An Art Without Qualities: Raivo Puusemp's 'Beyond Art -- Dissolution of Rosendale, N.Y.'"
"Remember—we are not reading the work
of an overconfident undergraduate here, trying to find his way amid the complications of critical theory and
thus protesting too much while understanding too little. We’re reading a book by the Rita Shea Guffey Chair
in English at Rice University, whose previous two books were published by Harvard University Press. So what
is going on here?
I’ve titled this review essay “The Nadir of OOO” because I think that the absurdities of Realist Magic are due
at least in part to those it inherits from the incoherent ontology it wants to popularize and extend. In order to
stake its claim to originality and supremacy, “OOO” has to fulminate against what it sees as a threatening
field materialists, purveyors of “scientism,” process philosophers, Deleuzians, and systems theorists. It has
to establish itself as “the only non-reductionist, non-atomic ontology on the market.” So Marx, as well, will
have to be laid low. Since it would be prove difficult to mount a plausible or relevant critique of historical
materialism from a perspective committed to a universe of objects withdrawn from relation, the object-oriented
ontologist can only flail wildly at his target, hoping to construct arguments so preposterous that they can’t
possibly be accused of trying to be serious. “Going ker-plunk or whatever”: the style affects an insouciance its
desperation belies, and it amounts to self-parody.
What is the point, then, of talking about the book, even to criticize it? On a blog discussing Realist Magic, a
reader says he wants to “dive deep enough into the object-oriented aspects of Morton’s thought to get some
grasp of what he is trying to do.” The reader quotes a long passage concerning the essence of a cinderblock,
which ends as follows:
You could explode a thousand nuclear bombs and you would not reveal the secret essence of the
cinder block. You could plot the position and momentum of every single particle in the block
(assuming you could get around Heisenberg’s Uncertainty Principle) and you wouldn’t discover the
withdrawn essence of the block. Ten of the world’s greatest playwrights and film directors (let’s say
Sophocles, Shakespeare, Garcia Lorca, Samuel Beckett, Akira Kurosawa and David Lynch just for
starters) could write horrifying, profound tragedies and comedies and action movies about the block
and still no one would be closer to knowing the essence of the block. (Timothy Morton)
“Something tells me,” the reader writes, “if I can understand the passage above I might just be able to pick up
what Tim is putting down.” But take care, dear reader: in order to pick up what Morton is putting down, you
would need to understand less, not more. The difficulty of getting “some sort of grasp on what he’s trying to
do” is inherent to the book, not any deficit of your own comprehension. Yet many readers, perhaps trying to
find an initial foothold in philosophy and theory, will find themselves in a position from which this might not
be apparent. And the problem with obscurantism is that its strategy is to reinforce incomprehension, rather than
alleviating it. To the extent that this strategy can itself be clarified, its effect—the cultivation of ignorance and
error—is mitigated. That is why it may be worth noting some reasons why no one should hope to understand
anything by reading Realist Magic.
“OOO” seems to be relatively popular at the moment. But obscurantism usually gleans the sort of popularity that
does not last. Despite the present popularity of “OOO” the conceptual weakness, the scholarly irresponsibility,
and the rhetorical desperation of Realist Magic offer ample evidence that it is not aging well. Academic theory will shortly try out a new flavor of the month—and the sooner the better, I suppose. It could not be more
tasteless."
How to interpret Art Deco style: "Canadian retailer Joe Fresh is expanding its business in Bangladesh, almost one year after the deadly collapse of the garment factory building where some of its clothes were made"
"I have often been utterly astonished, since I came to the north, to find persons who could speak of the singing, among slaves, as evidence of their contentment and happiness. It is impossible to conceive of a greater mistake. Slaves sing most when they are most unhappy. The songs of the slave represent the sorrows of his heart; and he is relieved by them, only as an aching heart is relieved by its tears. At least, such is my experience. I have often sung to drown my sorrow, but seldom to express my happiness. Crying for joy, and singing for joy, were alike uncommon to me while in the jaws of slavery. The singing of a man cast away upon a desolate island might be as appropriately considered as evidence of contentment and happiness, as the singing of a slave; the songs of the one and of the other are prompted by the same emotion." Frederick Douglass, Narrative of the Life of Frederick Douglass, An American Slave
HeathCardwell 
