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經濟學人:在線藝術展覽的優缺點(2)

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But not every artist, gallery and form showed to equal advantage in this alternative fair. Not surprisingly, simple two-dimensional works in bright colours came across best. No sculpture or conceptual art was included. Subtle pieces, such as Lucas Arruda’s impressionistic desert-scapes, which seem as much a mood or a state of mind as a physical depiction when you see them in real life, had little impact when viewed remotely.

但并不是所有的藝術家、畫廊和形式都在這個另類的展覽會上表現出同等優勢。雕塑或概念藝術并不包括在內。一些微妙的作品,比如盧卡斯·阿魯達的印象主義沙漠風景,當你在現實生活中看到它們時,它們似乎是一種情緒或一種精神狀態,而當你從遠處看它們時,幾乎沒有影響。

Besides depth and texture, there are aspects of gallery-hopping that a website is unlikely to replicate. One is serendipity— the sense of wandering between artworks and encountering the unexpected. Another is sociability. Art is a communion between artist and viewer, but galleries and fairs are also places to swap opinions and share enthusiasms.

除了深度和質感之外,逛畫廊還有一些網站不太可能復制的方面。一種是“意外發現”,即在藝術品之間徘徊,遇到意想不到的東西。另一種是社交能力。藝術是藝術家和觀眾之間的交流,但畫廊和博覽會也是交換意見和分享熱情的地方。

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There are ways to compensate for these inevitable deficiencies. As they shut their physical doors, some of the world’s finest galleries and museums are offering whizzy interactive visits, 360-degree videos and walk-around tours of their collections, all without queues and high ticket prices. One of the best is laid on by the Rijksmuseum in Amsterdam; its tour allows visitors to view its Vermeers and Rembrandts, including the magnificent “Night Watch”, far more closely than would normally be possible. Another standout offering is from the Museu de Arte de São Paulo, which has an even broader collection. On its virtual platform, its paintings, spanning 700 years, appear to be hanging in an open-plan space, seemingly suspended on glass panels, or “crystal easels” as the museum calls them, ideal for close-up inspection.

有一些方法可以彌補這些不可避免的缺陷。一些世界上最好的畫廊和博物館在關閉實體館的同時,還提供了令人眼花繚亂的互動參觀、360度全景視頻和藏品巡展,所有這些都不用排隊,也不用支付高昂的門票。其中最好的是阿姆斯特丹國立博物館舉辦的;游客們可以近距離觀賞維米爾和倫勃朗的作品,包括宏偉的《守夜人》。另一件引人注目的展品來自圣保羅藝術博物館,那里的藏品甚至更多。在虛擬平臺上,跨越700年的畫作似乎懸掛在一個開放的空間里,似乎懸掛在博物館稱之為“水晶畫架”的玻璃板上,非常適合近距離觀察。

But such wizardry may be beyond most galleries and artists. For Art Basel, Tracey Emin, a British artist at White Cube, exhibited a heartfelt demand spelled out in icyblue neon: “Move me” (pictured on previous page). At a distance, that is hard.

但這種魔力可能超出了大多數畫廊和藝術家的能力。在巴塞爾藝術展上,白立方的英國藝術家特蕾西·埃明用冰藍色的霓虹燈表達了一個發自內心的要求:“移動我”(前頁圖片)。如果在線則做不到如此。

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platform ['plætfɔ:m]

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n. 平臺,站臺,月臺,講臺,(政黨的)政綱

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suspended

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adj. 懸浮的;暫停的,緩期的(宣判)

 
advantage [əd'vɑ:ntidʒ]

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n. 優勢,有利條件
vt. 有利于

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alternative [ɔ:l'tə:nətiv]

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adj. 兩者擇一的; 供選擇的; 非主流的

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conceptual [kən'septjuəl]

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adj. 概念上的

 
unlikely [ʌn'laikli]

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adj. 不太可能的

 
compensate ['kɔmpenseit]

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v. 償還,補償,付報酬

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replicate ['replikeit]

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v. 折疊,復制,模寫 n. 同樣的樣品 adj. 轉折

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cube [kju:b]

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n. 立方體,立方
vt. 求 ... 的立方

 
unexpected ['ʌnik'spektid]

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adj. 想不到的,意外的

 
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