The Photomontage Activity of Postmodernism

For decades now, Douglas Crimp’s landmark 1980 essay ‘The Photographic Activity of Postmodernism’ has shaped our understanding of modernism’s aftermath, at least as it unfolded in North America and Western Europe. Less remembered, however, is the degree to which the procedures of disjunction, copying, appropriation, and outright theft that he highlighted were epitomised not just by contemporary photography, but by photomontage in particular. This article recovers the debates that led critics such as Crimp, Abigail Solomon-Godeau, Christopher Phillips, Benjamin Buchloh and others to turn to photomontage as one of their principal objects of concern in what became known as the postmodern critique of photography. Why was montage tasked to perform this critical function, particularly by people around the journal October who had not otherwise devoted the balance of their writing to photography’s history? The article suggests that these men and women, along with the contemporary artists they foregrounded, manifested what Mary Anne Doane has called a ‘desire for signification’, a reaction in the late 1970s against the mute theatricality of minimalist and conceptual art. Photomontage reintroduced representation to contemporary art and to the canon of art history. But unlike the reemerging illusionism in painting that also manifested this desire, montage guarded against an uncomplicated realism by highlighting and critiquing operations of representation in a manner that painting no longer could.     

聆听高迪

在19世纪末20世纪初欧洲工业化进程中掀起了反对繁缛维多利亚风格和工业化风格的新艺术运动,影响波及包括建筑在内的所有艺术领域。西班牙新艺术运动建筑大师高迪从建筑造型、装饰等多个角度阐释了新艺术运动的宗旨——"我们的根在林木之幽,泉水之侧苔藓之上"。打响了欧洲现代建筑的第一枪。     

漫谈北欧设计

在北欧严酷的自然环境下,那里的设计师以对大自然的崇敬之心,对生活的无限热爱,抱着设计美好的生活的淳朴理念,创造出在全世界独树一帜的设计风格。这些在斯堪迪纳维亚温暖、明亮的阳光照耀下散发着森林、湖泊清新气息的,自然、舒适、精致、优雅的设计作品令世人刮目,为之倾倒,在全世界顶尖设计人才激烈竞争中,脱颖而出。产生了像艾里尔·萨里宁(Eliel Saarinen)和阿尔瓦·阿图(AlvarAalto)这样的世界顶级设计大师,并成为世界现代设计的奠基人之一。北欧的成功经验对我们有着重要的参考价值和借鉴意义,对北欧设计的深入研究,将为我们提供一个极有价值的样本。     

现代设计——从整和到混合

我们从现代主义到后现代主义设计的转变中可以看到,各种新的思潮、新的流派、新的理论和新的风格往往都首先在建筑领域孕育、发展、变化。现代主义设计强调视觉世界的"整和";而后现代主义则是采用了"混合"的手段,呈现出与以往现代主义截然不同的面貌。设计正是通过相互不断的"整和"与"混合",由单一性逐渐向多元性、不确定性、符号性演变,也使得人们的生活方式更加丰富多彩。     

中国当代壁画的“缺席”与“在场”

从中国当代壁画的主题、表现语言、政府的支持程度等不同层面进行了论述,梳理、分析了其中的问题所在.与其他艺术相比,中国当代壁画总是处在一种＂缺席＂的状态,中国当代壁画要想获得重新＂在场＂的契机,必须剖析其本身从形式到公众性缺失等方面的诸多问题.     

身体叙事在中国的演变

身体叙事是中国20世纪末最重要的文化现象。本文通过对陈染林白和卫慧棉棉为代表的女性写作的考查，探讨西方随着哲学的肉身化不断推进的身体叙事，如何从陈染们的以“身体”为中心的反抗，堕落为棉棉们的消费文化的过程，以期促进对中国现阶段文化现象的认识。     

Michel Ecochard in Lebanon and Syria (1956–1968). The spread of Modernism,the building of the independent states and the rise of local professionals of planning

The architect and planner Michel Ecochard has had a long career in developing countries, from its first works in Syria under the French rule, until the 1970s. He represented the modernist and functionalist approach to planning in a time of modernization. In this article, we concentrate on his work in Lebanon and Syria between the end of the 1950s and the 1960s. He prepared the master plans of Beirut and of Damascus. Those works represented the end of an era rooted in colonial planning. It was also the beginning of a new time, with the local planners taking on, sometimes sharing, sometimes contesting Ecochard's visions. Building on recent scholarship on the circulation of planning ideas, we focus on the reception of Ecochard's proposals. Though most political elites and planning professionals shared most of Ecochard's views, the political circumstances and the changing social conditions led to adjustments and reorientations. The new planning framework was also a major factor of change.     

New urban forms: the crescents of Bath and Le Corbusier's plan for Rio de Janeiro

This article considers whether formal references in Le Corbusier's work may be traced to the eigtheenth century crescents of Bath and, in particular, Lansdowne Crescent. By exploring this line, it raises the possibility that in the work he produced for the Latin American context, this arch-modernist planner moved beyond the de-contextualized approach for which he is known and explored the possibility of integrating new urban forms with nature. The article also shows how Le Corbusier's plans for Rio de Janeiro allowed him to become an important formal reference point for successive generations of local architects and planners.     

勷勤大学建筑工程学系与岭南早期现代主义的传播和研究

襄勤大学建筑工程学系是岭南最早创立的建筑系，在其六年的发展历程中，在其六年的发展历程中，广大师生把握了现代主义的时代潮流，对现代主义建筑理论进行了深入的探讨和研究，为岭南早期现代主义的传播作出了极大的贡献。从襄大建筑工程学系发展的各个时期入手，对其现代主义理论体系的建立作出客观的评价和分析。     

The Heritage of the Productive Landscape: Landscape Design for Rural Areas in the Netherlands, 1954-1985

In the current debate about the future of the Dutch countryside, more and more attention is drawn to the role of landscape heritage. Spatial designers are asked to translate historic identities into spatial forms in order to bridge the gap between past and future. Special cultural heritage policies are developed to stimulate a shift in design practice and to increase awareness of the value of cultural landscapes. Because interpretation of the rural landscape is often rooted in nostalgia, most conservation efforts are directed at old historical landscapes and rural scenes. But what about modern rural landscapes? How do these landscapes relate to the emerging issue of heritage protection and development? To answer this question the historical significance of these landscapes was examined by analyzing their design in the slipstream of post-war reconstruction. Attention was also given to their possible future in a planning and management context that is increasingly influenced by a public and professional demand for landscape conservation and heritage. We argue that these landscapes are at odds with the values and core convictions of the current heritage policies and merit recognition in their own right.