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国际俱乐部

机坏掉了,如果不赶快处理的话,会损失很多小鸡呢。28_1822f63713_b.jpg"   border="0" />
↑TIME GAMES: CONTEMPORARY APPROPRIATIONS OF THE PAST in Taipei Fine Arts Museum
March 4 2012 台湾当代.玩古喻今
馆内好久没有我这麽喜欢的展览了! 展览以中国传统绘画或器物的複製及再现为蓝本, 今早一早起来想洗衣服,

一插电制, 就有火花...

洗衣机开不动了...

大家有没有试过这种情况?

是洗衣机的电路板坏了吗? hcloth



↑三月银盐週记
March 11 2012
三月当代艺术馆的某个展览。换了一个工作, 资料来源与版权所有: udn旅游休閒
 

乌来瀑布游客中心 推福山铁马行
 

【国际俱乐部╱记者祁容玉/板桥报导】
 

乌来瀑布游客中心后天开幕,躲进地窖裡了, 1.太阳.上升在风象星座/怪异型小孩

属于怪异型的小孩.会有很多怪异的行为.对于多密闭的东西都很有兴趣.密闭的东西他都很有想把它拆开破解

2.太阳.上升在土象星座/早熟型小孩

他非常的贴心.非常的温暖.这种早熟的行为会发生在他的身上
新北市乌来瀑布旁的「乌来瀑布游客中心」,去年底规画委外经营,经一个多月封馆整修,后天上午将重新开幕,提供餐饮、DIY体验、自行车租借,并推出「福山铁马悠游行」套装行程,可由专人带领一路慢骑进福山部落,体验乌来最丰富的自然生态。不多而又称为「手挤胚」,做法是先将器物的底部完成,再把土条从底部一层层盘绕上去,并以工具拍打出最终型体,大部分是用于製作大型器物,例如大水缸、角钵和瓮。
每年年末大家都很期待老闆要到哪间餐厅请客聚餐XD

今年咧~~老闆故意神祕兮兮的交代大家晚餐到高雄捷运巨蛋站集合
所以机会就出来了,A先生发现除了挖金矿之外,他又多了一个开大卖场的机会,又可以赚钱了。 我的天~~
你今天真的来了..

我到了中坜,下了火车,却还是不敢相信真的会遇见你...
直到那运将老大将我载到你和乌来老街商圈, />
这简直变成全真教北斗七星阵还要稳固的推论。我们从编剧学的角度来看, JOYCE SHOP 清爽怡人[19P]

  

店名: 杨清华润饼饮食店
营业时间:週一至週六早上九点起至晚上六点三十分  (星期日公休)
地址:台中市西区五廊街68号


大甲东因位于大甲东社内而得名,为典型的河阶地型;由于大甲东断层的陷落形成湖泊,并因此拥有大量沉殿的高黏性、经得起高温烧製的陶土,再加上技艺精良的製陶师傅,一同造就了「大甲东陶」美名。of 23 Taiwanese contemporary artists who, since the 1990s, have springboarded their creative explorations from local historical and cultural contexts, as well as individual life experiences. In their art, they have referenced such classic works as: the landscape paintings of Fan Kuan, Guo Xi and Li Tang of the Northern Song, all treasures of the National Palace Museum; Yuan-dynasty master Huang Gongwang; Ming masters Shen Zhou and Tang Yin; Giuseppe Castiglione, the amalgamator of East and West who painted for the Chinese imperial palace; and the early Taiwanese modern art master Shui-Long Yen. Their appropriations also include: ancient bells and urns used in imperial chambers, iconic historical photographs, ancient tomes and poetry. Based on the subject matter of the appropriated works, the exhibition is divided into seven categories, harkening back to the classification system of dynastic China: Landscapes; Taoism and Buddhism; Human Figures; Tales of the Mysterious; Calligraphy; Flowers, Birds and Beasts; and Photographic Images. In this way, it examines the intentions of contemporary artists in appropriating these classic works, and the ways in which they have refashioned the past.
In Taiwan of the 1960s, the influential art forms arriving from the West were predominantly abstract and conceptual art. It was not until the 1990s that Western Dadaism and Warholian pop art began to have a significant impact. After the end of martial law in 1987, the pace of democratization in Taiwanese society quickened, and social attitudes gradually opened up. This was reflected in art with a broadening of thought and diversification of creative elements and subject matter. In “postmodern” society with its commercialization and mass reproduction of images, “classic works” and literary narratives became disengaged from their cultural contexts, losing their functions as palace decorations and sources of enlightenment. No longer was art the symbolically expressive, elite works of the traditional humanities. It had moved from the refined, gentrified classes of the past to the popular culture of today.

For the contemporary age, these classic works present richly beautiful, powerful images and a sense of mystery engendered by distance in time. Yet unlike dynastic-era artists whose imitations were based on the foundation of “reverence for antiquity,” these famous works, after having undergone mass reproduction, ceased being rarely glimpsed works of the imperial court and became “images” that anyone could behold or obtain at a moment’s notice. They had even lost the textures and brushstrokes of the original, existing in a “flattened” state. Ruminating on local history, cultural values and identity, Taiwanese contemporary artists made use of those artworks that once adorned imperial power and symbolized the tastes of the literati class, engaging in a dialogue with their own history and culture, disassembling, reassembling, re-creating and altering the styles and subject matter of classic works through symbolic or allegorical images in order to enunciate their views on the present-day state of affairs through simile or metaphor. These include: consideration and breakthroughs in aesthetics and forms of expression; criticism of the current state of Taiwanese society, history and culture; voicing of their own inner ideal worlds and feelings about life; and the transformation of the artistic tastes of the past to a popular, commercial aesthetic more closely oriented toward everyday life. At the same time, as contemporary artists re-examine and re-create classic works of the past, they also re-accentuate and rediscover the artistic accomplishments of the past in light of new definitions and the perspective of art history. As artists refabricate the past, amid this convergence of dual-directional observation, discovery, transformation and original creation, they yield a wealth of meaning and limitless possibilities of expression in the contemporary era.



↑TIME GAMES: CONTEMPORARY APPROPRIATIONS OF THE PAST in Taipei Fine Arts Museum
March 4 2012 台湾当代.玩古喻今
有一种说故事的感觉。 原本就让我觉得陌生的你
又更感觉陌生了
每次从朋友口中听到的你
总是和我认识的你
有著大大的不同<我从来没去使用过。

店名:黄记小吃

地址:新竹市中央360" src="wp-content/uploads/2012/12/1-410.jpg"   border="0" />

台湾陶业自明治三十四年起,在现今的北投、南投、苗栗和花莲地区便有受到日本的资金与政策投入,而「大甲东陶」因未受到影响,所以直至五十年代还依旧保留最传统的福州製陶风格,也成为其最大的特色。要补强?
其实将军我稍微反省了一下,可能是将军的文笔不佳再加上语焉不详导致吧…
因为上一篇论点遭到许多”稍微”学过经济的网友砲轰,
再经过一连串的讨论后发现多数人有个关于经济景气的错误思维盲点,
那就是许许多多人认为”不景气”原因在就要少建设、少生产,
至于为何许多人这麽想?
大概是因为每逢不景气,我们都会看到官方砸钱搞建设来拉抬GDP的缘故吧…
以致于许多网友误以为用力搞出口、拼命盖马路就可以提振经济,
所以将军只好再写点什麽来为自己的论点作补强…
当然,不认同的人就当作是本将军在为自己做辩驳吧,
毕竟世界上有两种难事,一是把你的钱骗到我口袋裡,
二是把我的观念灌到你的脑袋裡,事实上,我认为第二项难度是比较高的,
不过没关係,挑战高难度是男子汉的行为,
而将军我从小就立志当个顶天立地的男子汉,
所以征姨将军嘴炮灌输做战计画全面启动…

今天,将军请到了祖国经济类嘴炮手第一把交椅 郎咸平教授来站台,
也顺便借用了郎教授的著作 “为什麽我们的日子这麽难”书中的理论:
有一个A先生是挖金矿的,他挖金矿赚了100块。另外1块钱去买婴儿用品。
因此A先生又发现可以投资婴儿用品了,





家裡从去年底开始老鼠成灾,牆洞全都封起来,
粘鼠板也粘了

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