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书名：如何读懂当代艺术 How to read contemporary art 作者：Michael Wilson
_____________________ 当代艺术最基本的含义，是我们所处时代的艺术。更具体的说法是，将其与现代艺术相区别，根据“后现代”最早出现的时间，当代艺术的时间范围可以推定至20世纪70年代。 The most basic meaning of contemporary art is the art of our time.More specifically, to distinguish it from modern art, according to the earliest 'post-modern' time, the time range of contemporary art can be presumed to 1970s.
当代艺术有时候被称为“后流派”艺术，意味着不再有过去的艺术风格分类，给每个艺术家个体提供自由和空间，换句话说，艺术家们不得不自主掌舵。 Contemporary art is sometimes referred to as 'post-genre' art, meaning that there is no longer a classification of past artistic styles, providing freedom and space for each individual artist, in other words, artists have to take the helm on their own.
艺术家作为孤独天才的神话早已破灭，他们并非与世隔绝，而他们的创作也远非脱离研究、对话与合作的活动。相反，一位从事当代艺术的艺术家，几乎不可避免地生存在一张大网之中，这张网包含了策展人、评论家、学者、艺术商、收藏家、爱好者，当然还有其他艺术家。 The myth of artists as lonely geniuses has long been shattered, they are not isolated from the world, and their creation is far from the activities of research, dialogue and cooperation. On the contrary, an artist engaged in contemporary art, almost inevitably exists in a large network of curators, critics, scholars, artists, collectors, enthusiasts. There are, of course, other artists.
本书的艺术家不只是当下最知名的艺术家，而且有很多得到了其他艺术家认可的、在自身的名人效应外仍然具有强大影响力的艺术家，还有一些电影、音乐和漫画等大众领域的杰出艺术家。
The artists of this book are not only the most famous artists of the day, but also many artists who are recognized by other artists and still have a strong influence beyond their celebrity effects. There are also some outstanding artists in the mass arts, such as movies, music and comics. _____________________
根据个人兴趣 我挑选了一些比较喜欢的艺术家以及作品：
I selected some of my favorite artists and works according to my personal interests:
（根据姓名 由A-Z排序）
A
阿德尔·阿贝德塞梅 Adel Abdessemed
Telle mère tel fils（有其母必有其子）
“我不是生活在两种文化之间的人，我不是后殖民主义艺术家。我不从事伤痕艺术也不为疗伤。我只是一个探查者，在公共领域，我利用公众的激情和愤怒，别无其他。我不制造幻觉。” 他运用雕塑、装置、摄影和录像等多种媒介，其中有些规模十分宏大，来制造公众情景（他称之为“行动”），并通过录像和物件记录下来。他的早期作品非常直接地挑战了宗教和政治的禁忌内容，而笼罩每天日常生活的暴力是他的一贯主题。 'I am not living between two cultures, I am not a post-colonial artist. I don't do scar art, I don't heal wounds. I am just an explorer, in the public domain, I use public passion and anger, nothing else. I don't create hallucinations. '
He uses a variety of media, including sculptures, installations, photography and video, some of which are of a very large scale, to create public scenes (what he calls 'action') and record them with videos and objects. His early works directly challenged religious and political taboos, and the violence that enveloped his daily life was his constant theme.
安德里亚·鲍尔斯 Andrea Bowers
“在影像、装置和绘画作品中，鲍尔斯探索了控制与权力的问题。” 'in images, installations and paintings, Bowles explores the question of control and power. '
美国艺术家Andrea Bowers的作品常常与社会政治有千丝万缕的关联。她的作品关注一些地区及公司为了得到或者保持权力与利益而引起的环境污染与侵犯人权的事件。 The works of American artist Andrea Bowers are often closely related to social politics. Her work focuses on environmental pollution and human rights violations in some regions and companies in order to obtain or maintain power and interests.
B
贝森·休伍丝 Bethan Huws
贝森·休伍丝的母语是威尔士语，第二语言是英语。她现在生活在巴黎和柏林。由于这样一个生活背景，她的绘画、装置、雕塑、文章和电影在初期总是围绕着地域、空间、出身和个人身份认证这些主题。对艺术家本人来说，语言是社会组织和社会交流中的载体和具体事件发生的地方，具有最重大的意义。休伍丝女士在她对现代艺术本身及其周边条件的思考过程中，认定杜尚 (1887-1968)这一极端现代艺术的创始人之一，是理解现代艺术的重要本源。她对杜尚做出很多惊人的新解释，并创造了很多自己的，具有时代感的表述。 Bethan Huws is native to Welsh language and English is second language. She lives in Paris and Berlin now. Because of such a living background her paintings installations sculptures articles and movies always revolve around regions spaces origin and personal identity at the beginning. For artists themselves language is the carrier of social organizations and social exchanges and specific events occur where it has the most significant significance. Ms. Xiu Wusi decided in her thinking about modern art itself and its surroundings and identified Marcel Duchamp as one of the founders of extreme modern art. It is an important source of understanding modern art. She made many amazing new explanations to Marcel Duchamp and created many own expressions with contemporary sense.
个展“今天天气很好”（Il fait beau aujourd’hui）
C
香特尔·阿克曼
Chantal Akerman
1950年出生于比利时布鲁塞尔，工作生活于法国巴黎和美国波士顿。阿克曼在20世纪60年代后期开始拍摄电影，1995年开始创作影像装置艺术。
Born in Brussels, Belgium, in 1950, he lives and works in Paris, France, and Boston, USA. Ackerman began filming in late 1960s and began to create the art of video installation in 1995.
“阿克曼直接表现了新浪潮的影像，并且处理的超级睿智。” 'Ackerman directly represented the image of the new wave and handled it with super sagacity. '
《让娜·迪尔曼》 迪尔曼的多重身份：母亲、家庭主妇、妓女在电影中被推至中心位置，这也就是“女权主义”电影的最大特点。女性主义者安奈特·孔指出，在电影中，女性通常被社会结构成男性主导世界的“他者”或“局外人”，女人无法说自己的故事，因为影像是被男性控制，通常女性被视为性客体，惟其美貌和性吸引力才有价值。阿克曼的这部电影可以看作是对传统男性电影霸权的一次挑战。
Dillman's multiple identities: mothers, housewives, and prostitutes are pushed to the center of the film, which is the biggest feature of the Feminist film. Feminist Annette Kong points out that in movies, women are often socially structured as the 'other' or 'outsider' of the male-dominated world, and women cannot tell their stories because the images are controlled by men. Women are often regarded as sexual objects, but their beauty and sexual attractiveness are of value.Ackerman's film can be seen as a challenge to the hegemony of traditional male films.
https://www.bilibili.com/video/av3031063/
科妮莉亚·帕克
Cornelia Parker
Parker偏好“卡通暴力”，猛撞或猛扯物件，将其吹大或是从高空抛下。
Parker prefers 'cartoon violence,' bumping or pulling objects, blowing them up or dropping them from the sky.
艺术品中再循环利用的现成物通常传达了一种时间感，一定程度上物件过去的历史和身份仍明显存在。在其涉猎广泛的系列作品中，科妮莉亚·帕克以创新的，常令人瞪目结舌的方式来对现成材料加以利用，这些方式让偶得材料与过去和现在的关联更为错综复杂，并提醒我们认识到所有事物随着时间的推移都会经历其意义和形式上的无情变化。 Recycled ready-made objects in art usually convey a sense of time, and to some extent the past history and identity of objects still exist. In her extensive series, Cornelia Parker uses ready-made materials in innovative, often glaring ways. These methods add complexity to the connection between the material and the past and present, and remind us to recognize that all things experience relentless changes in meaning and form over time.
帕克艺术的与众不同之处在于她如何揭示了时间的路径绝非直线前进的。历史、记忆、情感和新事件会赋予人、地点和物件以新的意义。 What distinguishes Parker's art is how she reveals that the path of time is not straight forward. History, memory, emotion, and new events give new meaning to people, places, and objects.
《一座历史遗迹的潜意识》的名字反映了艺术家对弗洛伊德学派心理分析的兴趣，又一次在平凡中注入了类似于自主意识的内涵。 The name 'Subconscious of a Monument' reflects the artist's interest in Freudian psychoanalysis, and once again infuses an intension similar to autonomous consciousness in the ordinary.
D
道格拉斯·戈登
Douglas Gordon
道格拉斯会使用不同的媒介进行创作。他使用过表演、油画、装置、文本以及电影胶片（包括原版的和从别处借用来再创作的）来研究人类的感知、记忆以及遗忘。 Douglas uses different media to create. He has used performances, paintings, installations, texts, and film films (both original and borrowed from other sources) to study human perception, memory, and forgetting.
《假死；实时》 “我们想横跨自然片和医学纪录片的形式，来观察所拍摄对象，既可以服务于实际用途，又有一定的美感。” 将不同的电影题材汇聚在一种复合体中，是艺术家很多作品的核心所在。 'We want to look across the forms of natural films and medical documentaries to see the subjects, both to serve practical purposes and to have a certain sense of beauty. 'bringing different film themes together in a single complex is at the heart of many of the artists' works.
play dead；real time，2003 戈登解构了他运用的媒介，一方面更密切地研究了独特的对象，另一方面建立并增强了内容与背景之间的交换。
Gordon deconstructs the media he uses to study unique objects more closely on the one hand and to establish and enhance the exchange between content and background on the other.
用“通感”（Synesthesia）可以更好地来描述“基于时间的媒体艺术”（time-based media art）的属性，因为它们永远调动你的多重感官。 Synaesthesia can be used to better describe the properties of 'time-based media art'. Because they always mobilize your multiple senses.
达米恩·赫斯特
Damien Hirst
Hirst一贯的主题——生与死、美丽与恐怖是常见的，他采用了直接而带有煽动性的手法，并且越来越带有宗教意味。
Hirst's consistent themes of life and death, beauty and terror are common, and he has adopted a direct and inflammatory approach and is increasingly religious. 他在商业上获得的成功是难以忽视的。他的事业走势反映并在某种程度上促进了国际当代艺术市场在过去十五年中的繁荣。
His success in business is hard to ignore. His career trends reflect and to some extent contribute to the prosperity of the international contemporary art market over the past 15 years.
The Physical Impossibility of Death in the Mind of Someone Living，1991
这是Hirst的第一件福尔马林尸体作品。
个人网站：http:///
E
埃亚-丽莎·阿提拉
Eija-Liisa Ahtila
The House
“动态的图像作为媒介，让人们看到周围发生的事情，是他们了解社会的途径。这是一种最常见的解释我们社会的方式。艺术家想用动态图像创作是不足为奇的。” 'dynamic images act as a medium for people to see what is happening around them, and it is their way to understand society. This is one of the most common ways to explain our society. It is not surprising that artists want to create with dynamic images. '
她的作品通常是多影像多声道模式，并且放置在可穿行的装置作品中，于是将电影语言纳入了艺术的拓展领域。另外，她通过混合叙事电影、音乐录像和电视广告，反映当代各种媒介之间界限的消融。
Her works are usually multi-image, multi-channel, and placed in transportable installations, thus incorporating the film language into the field of artistic expansion. In addition, she reflects the melting of the boundaries between contemporary media through a mix of narrative films, music videos and television commercials.
F
菲亚·贝克斯托姆 Fia Backström
通过裁去《艺术论坛》的评论主体，艺术家强调了与内容平行的另一线路，以此表达观点。
By cutting off the subject of the Art Forum, the artist emphasizes another line parallel to the content to express his views.
G
加布里埃尔·库里
Gabriel Kuri
库里总体上关注的是废弃物品如何被赋予精神和政治意义。
Kuri is generally concerned about how discarded items are endowed with spiritual and political significance.
Gabriel Kuri, 'Untitled (superama),' 2003 加布里埃尔·库里（Gabriel Kuri）以其利用日常消费品的残留部分——如入场券、烟、身体护理产品、大理石板材以及石块等——创作的雕塑及拼贴作品而闻名。他的作品涉及到了装置、雕塑、摄影以及拼贴品等多种媒介。他通过这些作品探索了关于当前的社会秩序的问题。 Gabriel Kuri uses the remaining parts of everyday consumer goods -- such as tickets, cigarettes, physical care products, Marble plates and stones -- sculptures and collage works are famous for their creation.His works involve many kinds of media such as devices sculpture photography and collage products. Through these works he explores questions about the current social order.
Gabriel Kuri, 崇高之再现（Recurrence of the sublime）, 2003
H
哈伦·法罗基
Harun Farocki
像“新德国电影”导演Rainer Werner Fassbinder和Werner Herzog等人一样，Farocki在20世纪60年代后期的学生抗议运动背景下展开了创作，他创作的作品多达90多部。他广泛运用各种体彩及形式，从记录短片到长篇电影，从数码动画到多屏幕装置，创造了“自省的电影立体主义，而媒体本身作为真相的工具，受到激烈的质疑。”
Like Rainer Werner Fassbinder and Werner Herzog. Farocki created more than 90 works in the context of the student protest movement in late 1960s. He used a wide variety of sports lottery tickets and forms, from documenting short films to long films, from digital animation to multi-screen devices, creating 'introspective film cubism, and the media itself as a tool for truth.' Under fierce questioning. '
“通过剪辑和旁白，法罗基将两种视觉追踪联系起来。”
'through editing and narration, Farocki connects the two visual trackers. '
I
艾萨·根泽肯 Isa Genzken
“艺术当中最坏的情况就是，‘你看见并且你懂了’。许多艺术家似乎都根据自己发明的一种理论来创作，这种理论陪伴他们的一生，他们从未偏离其外。我很不喜欢这种确定性。” 'the worst thing about art is' you see and you understand'. Many artists seem to create on the basis of a theory they have invented that accompanies them throughout their lives and that they have never deviated from. I hate this certainty. '
Genzken对材料的使用当然不是不加选择的，而是展示了另一种世界，在其中并不直接“属于彼此”的物件、图像、思想和感觉之间被强制建立起一种在精神和实体上无比接近的永久关系。当布赫洛将艺术家当下的手法形容为徘徊在“精神变态边缘”时，他并不认为Genzken真的疯了，而是投入了一种持续的对抗，在一个着迷于物质的单纯消费功能的世界里，反对那种重新审视它们真实价值的不可能性。这种模式反映了一种涉及现代及当代建筑以及物质文化整体的兴趣，同时体现在Genzken的电影、摄像、录像、绘画和拼贴作品中。通过所有这些媒介，她引用了构成主义的传统和艺术与设计中的其他乌托邦主题，来创造一种“当代废墟”。这些倒塌的景象令人不适的同时也有解放的力量，传达出一种深深的忧郁，同时贯穿着一种惊人的乐观。
Genzken's use of materials, of course, is not random, but shows a different world. A permanent relationship between objects, images, thoughts, and feelings that are not directly 'belonging to each other' is forced to be incomparably close in spirit and substance. When Buhlo described the artist's current approach as hovering on the edge of a 'psychopath,' he did not think Genzken was really crazy, but instead engaged in a sustained confrontation. In a world obsessed with the purely consumptive function of matter, it rejects the impossibility of re-examining their true value. This model reflects an interest in modern and contemporary architecture as well as material and cultural as a whole, and is reflected in Genzken's films, cameras, videos, paintings and collages. Through all these media, she cites the tradition of constitutionalism and other Utopian themes in art and design to create a 'contemporary ruins'. The images of these collapses are both uncomfortable and liberating, conveying a deep melancholy that permeates a startling sense of optimism.
J
杰克·皮尔森
Jack Pierson
“这些现成品字母七零八落的布局意味着它们组合的偶然性。” 'the patchy layout of these existing letters means the chance of their combination. '
杰克·皮尔森(Jack Pierson)说：“感伤、浪漫、诗意、美丽等词语也许并不是描绘艺术品的最佳语汇，但是，它们是我所偏爱的。” Jack Pierson said, 'sentimentality, romance, poetry, beauty may not be the best words to describe art, but they are my favorite.' '
Self Portrait #4，2003
Self Portrait #17 皮尔森将他拍摄别人的照片命名为《自拍像》的这一做法，应该视作是对达达主义宣扬的挑衅态度的认可。1942年，马塞尔· 杜尚（Marcel Duchamp） 和安德烈· 布雷顿（André Breton）在纽约策划了群展“超现实主义的最初文本”（The First Papers of Surrealism），展览图录将自拍（画）像作为摄影和绘画中，描绘完全无关或不相识的人物其象征意义上的等价物。这些现成品肖像或者寻找得来的面孔都被冠以参展艺术家的名字，并通过取代其他预期的身份而获得新的意义。 Pierson's designation of taking pictures of others as 'selfie' should be seen as a recognition of the provocative attitude promoted by Dadaism.1942. Marcel Duchamp-Marcel Duchampand Andr é Breton, Marcel Duchamp. in New York, organized the group show 'the original text of Surrealism' (. The First Papers of Surrealism. The exhibition catalogue uses selfie as a symbolic equivalent in photography and painting, depicting characters that are completely unrelated or unknown. These finished portraits or the faces sought were given the names of exhibitors and gained new meaning by replacing other intended identities.
K
凯伦·塞特
Keren Cytter
Keren Cytter（1977年出生于以色列特拉维夫）目前生活并工作在纽约。 Keren Cytter (born 1977 in Tel Aviv, Israel) currently lives and works in New York.
“塞特从不会使人忘记所观看的是一系列规则的产物。” 'Seth never makes people forget that what they see is the product of a series of rules. '
http://www./html/news/9/9096.html
她是一个不折不扣的电影爱好者，同时受到好莱坞主流电影和欧洲先锋派的影响，还热衷于现代主义戏剧。塞特将文本深埋于后现代主义破碎的叙事当中，通过那些组合后仍看起来互不相容的元素，如虚构与自传、奇幻与现实、心理肖像与形式实验，她鼓励我们更仔细地观察生活，看它是如何被越来越多的艺术的人为形式所笼罩。 She is a true film lover, influenced by the mainstream Hollywood movies and the European avant-garde, but also keen on modernist drama. Cytter buried the text deeply in the broken narration of postmodernism, through the combination of elements that still seem incompatible, such as fiction and autobiography, fantasy and reality, psychological portraits and formal experiments. She encourages us to take a closer look at life to see how it is overshadowed by more and more artificial forms of art.
M
马修·巴尼
Matthew Barney
巴尼的艺术创作可以说是极端个人化和内倾型的。与大部分艺术家的创作都跟人类所置身的外部世界，如政治、社会、种族、阶级斗争等等发生关联不同，巴尼的创作很少跟外界发生关系，他的文化定位与人类经典神话、医学、身体经验等密切相关。 Barney's artistic creation can be said to be extremely personal and introverted. Unlike the fact that most artists are related to the outside world, such as politics, society, race, class struggle, etc., Barney's creations rarely relate to the outside world. His cultural orientation is closely related to human classical mythology, medicine, physical experience and so on.
Cremaster悬丝 1-5
Astrup Fearnley Museet展览现场
毕竟他的作品是本书的封面（出自于《悬丝3》） 不得不一提 After all, his work is the cover of this book (from 'Cremaster 3') and has to be mentioned.
“在任何领域或媒介里都很少有艺术家像他这样构想出如此细致而奇幻的宇宙。” 'there are few artists in any field or in the media who, like him, have conceived such a delicate and magical universe. '
O
奥拉维尔·埃利亚松
Olafur Eliasson
个人网站：www.olafureliasson.net
奥拉维尔·埃利亚松,1967年生于丹麦哥本哈根，现在德国柏林居住。这位有着冰岛血统的艺术家,总是将日光、彩虹、水流、迷雾等自然元素成为他作品的重要表现.他的作品通过对自然现象进行再创造或直接干涉，制造异于寻常的幻境,让观者身临其境的去触发那些光怪陆离的虚拟世界,从而引发人们对于自然现象的体验与感悟。从上世纪九十年代至今的十几年里，埃利亚松创作出了大量科技含量很高同时又兼具自然和文化双重性的经典作品。我们从中可以发现装置、雕塑、新媒体、建筑、工业设计、大地艺术、奥普（OPArt）艺术、超现实主义等各种门类形式的影子，但又没有一种是确切的。有人这么评论他:“光”和“气象”这几个字就完全可以让你感受到埃利亚松作品的独特气息。 Olafur Eliasson, born 1967 in Copenhagen, Denmark, now lives in Berlin, Germany. An artist of Icelandic descent, the natural elements of daylight, rainbow, water flow, fog and so on have always been an important manifestation of his work, which has been recreated or directly interfered with natural phenomena. Create an unusual fantasy, let the viewer personally trigger those strange virtual world, thus causing people to experience and understand the natural phenomenon.From -10s to now, Eliasson has created a large number of classic works with high science and technology content and dual nature and culture. We can find the shadow of installation, sculpture, new media, architecture, industrial design, earth art, Oprah Art art, surrealism and so on, but none of them is accurate. Someone commented on him: 'Light' and 'weather' these words can make you feel the unique flavor of Eliasson's work.
《天气项目》：
我参与过非常喜欢的一个展览之一就来自他——《无相万象》 现场体验效果非常好
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皮皮洛蒂·瑞斯特
Pipilotti Rist
Pipilotti从上世纪80年代至今的艺术实践包括单频道影像作品、雕塑、摄影、墙画以及视频装置等。Pipilotti的艺术实践在创作技艺上来说十分熟练，它们总是能表现出各种刺眼的色彩；她将感官画面、音乐以及文字融合到一起，创作出一些令人着迷的装置作品。 Pipilotti's art practices since -20s include single-channel video works, sculptures, photography, wall paintings and video installations.Pipilotti's artistic practice is very skilled in creative skills, they can always show a variety of dazzling colors; She combines sensory images, music, and text to create some fascinating installations.
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理查德·奥尔德里奇 Richard Aldrich
Richard Aldrich Homage to Daan van Golden， 2011
Richard结构松散的多媒介绘画的成功是难以量化的，它们看起来往往濒临倒塌或是处于半成品状态，有时甚至根本尚未开始。充满了内部矛盾以及不协调。
The success of Richard's loosely structured multimedium paintings is hard to quantify, and they often seem to be on the verge of collapse or in a semi-finished state, sometimes even before they even start. Full of internal contradictions and inconsistencies.
“一位漫游者发现了一堆陶瓷碎片，他用胶水粘合起来，做成了一只高雅的碟子。而碎片的旧主人在丢弃他们之前，用碎片组成的是一只茶杯，再之前的主人组合的则是一件阿多尼斯小塑像。这就是历史的本质：很多块碎片总是不断的被发现，不断被重组。”
'A rover found a pile of ceramic fragments, glued together with glue to make an elegant dish. Before throwing them away, the old owners of the fragments were made up of a teacup, and the previous owners combined a small statue of Adonis. This is the essence of history: many pieces of debris are constantly found and reorganized. '
莱涅克·迪克斯特拉
Rineke Dijkstra
《科沃布热格，波兰》（Kolobrzeg，Poland）
The Gymschool, St. Petersburg, 2014
“迪克斯特拉运用既同情又无情感牵连的手法，突出个人灵活的特质。” 'Dijkstra used both sympathy and no emotional implication to highlight the flexibility of the individual. '
http://www./artists/rineke-dijkstra/
罗尼·霍恩
Roni Horn
Horn自1975年后便定期拜访冰岛，她形容自己是这极具元素感之地的“永久游客”。 Horn visited Iceland regularly since 1975 describing herself as a 'permanent visitor' to this extremely elemental place.
水的图书馆 Vatnasafn/Library of Water,2007
Roni Horn是美国当代艺术家的实践，包括无数的人和媒体，包括基于文本的雕塑，橡胶地板的安装，和摄影展览。Horn的作品探索了特定的主题，如艾米莉·狄金森的诗，和她自己的魅力，随着冰岛景观地质心理连接较为模糊的问题。艺术家说：“你用隐喻使自己在世界上感到自己的家园。” Roni Horn is a practice for contemporary American artists including countless people and media including text sculpture rubber flooring installation and photographic exhibitions. Horn's works explore specific themes such as Emily Dickinson's poems and her own charm as Iceland landscape geological psychological links are vague issues.Artists say: 'you use metaphor to make yourself feel your home in the world.'
Roni Horn的作品具有情感和心理两方面的特征，可以看作是一种与后极简主义形式相结合的情感感知容器。她谈到她的工作是“喜怒无常”和“依赖站点”。她对某些材料的特殊性质的关注跨越了所有媒介，从有质感的颜料画到使用纯金或铸造玻璃和橡胶。 Roni Horn's works have both emotional and psychological characteristics, which can be regarded as a kind of emotional sensing container combined with post minimalist form. She talked about her job as 'moody' and 'dependent site'. Her attention to particular qualities of certain materials spanned all media ranging from textured paints to pure gold or cast glass and rubber.
Roni Horn的作品触及到几个不断反复出现的主题。即：同一性，易变性，水，冰岛和双重性格。而其中最重要的一个元素是水，她尝试过很多方法来表现水，通过语言、摄影甚至冰岛人的肖像。 Roni Horn's works touches on several recurring themes. Namely: identity, variability,water,Iceland and dual personality. One of the most important elements is water, she tried many ways to express water through language photography and even portraits of Icelandic people.
莱恩·麦金利
Ryan McGinley
非常喜欢他的作品！❤️
个人网站：http:///
“描绘裸体的青年在室外环境下欢悦的场景，就是对公共场所控制权及所有权的质问。” 'depicting naked youths in outdoor circumstances is a scene of joy, is public places control rights and ownership questions. '
McGinley 2003年的展览向大量观众群体展示了青年和青春的图景，与南·戈尔丁和拉里·克拉克等艺术家对同一主题黑暗悲观的解读形成对比。 McGinley's 2003 exhibition showcased youth and youth images to large audiences and contrasted with artists such as South William Clark and Larry Clark on dark pessimism about the same theme.
“我以一个纯粹美国式的方式长大，身边到处都是人。我们都是一个容易接触的、感性的大家庭。”因此拍摄的时候他很享受这些场景：“我的照片主题是庆祝生活、乐趣和美丽。他们是一个不存在的世界，一个幻想中的世界，没有规则，真正自由。我希望我们都生活在这个世界。” 'I grew up in a purely American way and everywhere I grew up.' We are all easy contact, emotional big family. 'so he enjoyed these scenes when filming:' my picture theme is celebrating life, fun and beauty. They are a world without existence, a world of fantasy, no rules, truly freedom. I wish we all lived in this world. '
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肖恩·兰德斯 Sean Landers
个人网站：http://www./
“这些个人的痛苦被以此种创意且以时而难看的字体书写出来，令人感到不安。”
'these individuals' pain is being written out in such creative and sometimes in ugly fonts, which makes them uncomfortable. '
苏珊·希勒 Susan Hiller
个人网站：http://www./
苏珊·席勒（Susan Hiller）在过去60多年的创作里一直致力于对信仰体系和意义的产生提出疑问。她的创作策略与方法论涉及到了对真实与想象出来的现象的检验，探索了人们未曾看到和未曾听到的事物，以便创作出能让人联想到缺失、记忆和幽灵的艺术作品。苏珊·席勒（Susan Hiller）曾经将自己的作品描述为是“一种考古式的调查研究，揭露某些事物以便让人们感受到它的不同的一面”，并且“关注了那些未曾说出来的、不被人知道的、未经解释的以及被忽视的事物”。她的作品反复地开拓着材料与形式的多样性，结合着范围惊人的媒介。 Over the past 60 years, Susan Hiller has devoted herself to raising questions about the system of belief and its meaning. Her creative strategies and methodology involve testing the real and imaginary phenomena and exploring things that people have not seen or heard. In order to create works of art that can remind people of missing memories and ghosts. Susan once described her work as 'an archaeological study that exposes something so that people can feel its different side'. And 'focus on unspoken, unknown, unexplained and neglected things'. Her work repeatedly opens up a variety of materials and forms, combining an amazing range of media.
Susan Hiller, The Aura: Homage to Marcel Duchamp, 2011
影像作品“失物招领”（Lost and Found）
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泰米·本-托尔 Tamy Ben-Tor
Tamy Ben-Tor个展“New Performance Work”在纽约Zach Feuer画廊
Ben-Tor无论扮演特定人物还是普通人，都显露出高超的批判和模仿才能。
Whether Ben-Tor plays the role of a specific character or ordinary people, they all show a superb ability to criticize and imitate.
并且Ben-Tor写道：“逃进另一个宇宙对我来说十分必要，这个宇宙中我不再是我，而语言不再用来传达信息，我塑造的人物在现实中并不存在，然而他们是具体的。”
And Ben-Tor wrote: 'it is necessary for me to escape into another universe, in which I am no longer me, and language is no longer used to convey information, and the characters I portray do not exist in reality.' But they're specific. '
http://www./exhibitions/tamy-ben-tor-new-performance-work/
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乌尔斯·费舍尔
Urs Fischer
乌尔斯·费舍尔一向以他的大胆创作，富于想象，和将现成品通过即兴发挥的方式创作出艺术作品而闻名。他的艺术实践更多地关注物体本质，创作行为的本身，以及将前两者结合起来的不可预测的创作过程。他是“炼金术士”，擅长在艺术史和地下文化中穿梭，调动废物美学的手法去推翻传统的雕塑语言。 Urs Fischer has always been known for his bold, imaginative, and improvisational work of art. His artistic practice pays more attention to the essence of the object, the creation behavior itself, and the unpredictable creative process which combines the former two. He is a 'alchemist' who is good at shuttling through art history and underground culture, using waste aesthetics to overthrow the traditional sculpture language. 在他的雕塑作品中，他总是想尽一切办法将看似普通，与艺术无关的普通物品，如家具，水果，蔬菜，玻璃杯，镜子，聚苯乙烯泡沫塑料，腊等转换成非同一般的元素，来体现他对于材料的实验性的改革。这与他深信每件物品都有他自己的独特性而存在，即所谓的raw energy，他将这些日常物件加以拆解，组合并重新赋予它们新的定义。 In his sculptures, he always does everything he can to make ordinary, non-artistic items, such as furniture, fruit, vegetables, glasses, mirrors, polystyrene foam. Wax and others were converted into unusual elements to reflect his experimental reform of materials. This is in the belief that every object has its own uniqueness, the so-called raw energy.He disassembles these everyday objects, assembles them and reinvents them to a new definition. 他的艺术通过材料间的转换反映了潜在的内在冲突和矛盾，在美丽与丑陋，端庄与笨拙，优雅与负荷之间的共存性，有效地将现成品融合在雕塑中来反映平凡陈腐的日常生活的复杂性和彷徨。这与他本人喜欢事物之间的冲突，物件与物件之间的关联是分不开的。 His art reflects the underlying conflicts and contradictions between materials, the coexistence between beauty and ugliness, modesty and clumsiness, elegance and load. Effectively integrate the existing products in the sculpture to reflect the complexity and loss of the ordinary and stale daily life. It is inextricably related to the conflict between the things he likes, the connection between objects and objects. 费舍尔是一个极具想象才能的艺术家，之前他就曾用各种各样的材料进行创作，如半融状态的蜡和腐烂的蔬菜等不易控制的材料。无论是用面包建房，给机器人和动物玩偶赋予生命，还是将各种物品肢解以探究人类与他们之间的关系，抑或凿穿地板，在画廊墙壁上钻孔，一切的一切，无不向人们展示出这位近乎疯狂的艺术家似乎在探寻人类感官的微妙变化，同时，他的作品也焕发出波普艺术和新巴洛克完美融合的奇幻味道。 Fischer is a very imaginative artist, he has been using a variety of materials, such as semi-melted wax and rotten vegetables and other uncontrollable materials. Whether it's building houses with bread, giving life to robots and animal dolls, dismembering objects to explore the relationship between humans and them, or cutting through the floor, drilling holes in gallery walls, everything. All show people that this nearly crazy artist seems to be exploring the subtle changes in the human senses, while his works also radiate the fantasy taste of the perfect fusion of pop art and the new Baroque. 一些评论家认为他的作品在某种程度上是与世隔绝的，或者说作品内在有一个属于他自己的艺术世界。也有评论家认为他的作品是具有社会性的，触及到艺术史范畴，但又不是附属于学院风格，同时又能取悦于大众。这可能与他从没有进过艺术院校学习有着密切关系，因为他相信艺术理念除了可以从书中学来之外，日常生活中，艺术无处不在。 Some critics believe that his works are somewhat isolated from the world, or that there is an artistic world within his own. Some critics think that his works are social, touching on the field of art history, but not attached to the academic style, but can please the public at the same time. This may have something to do with the fact that he has never been to an art college, because he believes that art is everywhere in everyday life, in addition to being able to learn from books.
《你》：
地上的一个大坑，构成了一个装置展览。
A large pit on the ground forms an exhibition of installations.
其他作品：
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沃尔夫冈·蒂尔曼斯
Wolfgang Tillmans
“亲密的性爱与家庭场景、舞厅、名人和国外旅游的记录相互碰击。” 'intimate sex meets family scenes, ballroom, celebrity and foreign travel records. '
一个具有多重身份的艺术家：模特、音乐人、摄影师、策展人
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扎林娜·比姆基 Zarina Bhimji
扎琳娜·比姆基的作品具有即时性，她的实践工作包括摄像、装置、拍摄和音乐都是经过了广泛的研究才开始的。她经常拍摄一些荒芜人烟的场景—机场、年久失修的建筑、公墓等，再配上一些煽情的名字如“爸爸关闭了他的心”（Bapa Closed His Heart）、“结束了”、“忘记我们”（Forgotten Us）“惊的山羊”（Frightened Goats）。这更进一步增强了她作品中所透露出的不安情绪。
Zalena Bimsky's works are immediate, and her practical work, including photography, installation, photography and music, has been extensively studied. She often takes scenes of desolation-airports, dilapidated buildings, cemeteries, etc. With some sentimental names such as 'Daddy closes his heart' (Bapa Closed His heart), 'over', 'forget us' (. (Forgotten us) 'frightened Goats'. This further reinforces the uneasiness revealed in her work.
如她的摄像作品一样，扎琳娜·比姆基在《走出忧伤》中运用了美学语言来表达她的兴趣和想法，通过对合成、色彩和表面结构的精雕细琢，她把建筑和风景转化成了情感符号。比起其他因素来，比姆基或许更注重光效，有时候她会观察同一块地方长达几个小时的时间，直到太阳升到所期待的高度。光表达的是一种美感，但这种美感最终必然会破碎。对于她而言，阳光具有表达深层次情感的功能——“春天的阳光带有悲伤的意味”（spring light has qualities of grief）。随着时间的流逝，她所记录的美景变成了恶性的荒凉之地，而这种处理手法正是她从英国风景绘画的传统手法中学来的。她的作品中没有直线性的叙述，取而代之的是能够体现人类普遍情感—爱、欢乐、背叛和悲伤—的场景。随着场景自然节奏的变化，具体的地点变成了抽象的情感，建筑也被赋予了心灵。 Like her camera work, Zalena Bimsky uses aesthetic language to express her interests and ideas in 'out of Sorrow,' through careful elaboration of composition, color, and surface structure. She turned architecture and scenery into emotional symbols. Bimchi may be more focused on light efficiency than any other factor, sometimes observing the same area for hours until the sun rises to the desired height. Light expresses a sense of beauty, but it is bound to break in the end. For her. Sunlight has the power to express deep emotions-spring light has qualities of grieve. As time went on, the beauty she recorded turned into a vicious desolation, which she had learned from the traditional methods of British landscape painting. There is no linear narrative in her works, but a scene that reflects the universal emotions of human beings-love, joy, betrayal and sadness. With the change of the natural rhythm of the scene, the concrete place becomes abstract emotion, and the architecture is endowed with the mind.
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