關於 online art exhibition platform ，我們在網路上蒐集到這些相關的討論、資訊與評價

[時事英文] 封鎖時期的美術館

我想念可以步行到美術館欣賞藝術品的時光，但藝術其實也可以在生活中偶遇。本貼文我附上的作品圖片是來自畫家曾日昇畫室 。上週我在老婆大人SHOPPING時，我看到了他的作品，這讓我忘卻壓力，放鬆身心。非常感謝他幫助我度過了這段艱難的時光。

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經濟學人報導：

Some of the joys of viewing art are hard to replicate on-screen

觀看藝術的樂趣很難在螢幕上複製

Art Basel Hong Kong, Asia’s biggest contemporary-art fair, was cancelled because of COVID-19, but anyone who had planned to visit last week could enjoy an experimental alternative: the viewing room. At the click of a keyboard, you could enter a panoramic but private visual salon, without having to brave the airless Hong Kong Convention and Exhibition Centre.

1、contemporary-art fair 當代藝術博覽會
2、experimental alternative 實驗性的替代選擇
3、panoramic 全景
4、private visual salon 私人視覺沙龍
5、Hong Kong Convention and Exhibition Centre 香港會議展覽中心
6、brave (v.) 勇敢面對；冒（風險）

亞洲最大的當代藝術博覽會——香港巴塞爾藝術展因COVID-19而被取消，但任何上周計畫參觀的人都可以享受實驗性的替代方案：放映間。只需點擊鍵盤，你就可以進入一個全景但私密的視覺沙龍，而不必穿梭在空氣不流通的香港會議展覽中心裡。

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Participating galleries were told that, for a quarter of the original fee, they could have a slot in the online fair. Over 90% of the line-up—231galleries—gave it a whirl, offering more than 2,000 works worth $270m in total. The viewing room was a telling indication of how art might be shown (and sold) in the future, in a pandemic-stricken era or if travel is otherwise restricted. It offered encouragement—and some lessons on digital engagement.

7、gallery 美術館
8、have a slot in 佔有一席之地
9、give sth a whirl （常指初次）嘗試做
10、a pandemic-stricken era 病毒肆虐的時代
11、offer encouragement 提供鼓勵
12、digital engagement 數位參與

參展的美術館被告知，只需原費用的四分之一，便可在網路展覽會上佔有一席之地。超過90%的美術館—231家美術館—決定嘗試，共提供2000多件價值2.7億美元的作品。放映間做為一個生動地展示，提供在未來，在一個病毒肆虐的時代，或者在旅行受到限制的情況下，藝術品如何展示(和出售)。他提供了數位參與的鼓勵和經驗。

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There, on one webpage, was Jeff Koons riffing on Botticelli’s “Primavera” in a tribute to the history of painting at David Zwirner Gallery. Ota Fine Arts offered one collector the chance to acquire an “infinity room”, one of the most Instagrammed artworks of recent years—the creation of the psychedelic, nonagenarian Japanese artist, Yayoi Kusama. White Cube presented an array of international works by Andreas Gursky (German), Theaster Gates (American) and Beatriz Milhazes (Brazilian).

13、riff (v.) on 翻唱
14、in a tribute to… 為紀念…而做
15、infinity 無限
16、psychedelic 迷幻的
17、nonagenarian 九十多歲的人
18、an array of 一系列

在其中一個網頁上，傑夫·昆斯在大衛·茲沃納美術館為紀念繪畫史而翻唱波提切利的《春》。大田秀則美術館為一位收藏家提供獲得一個“無限鏡屋”的機會，這是近年來在instagram上最受歡迎的藝術品之一。這是那位九十多歲、具迷幻色彩的日本藝術家草間彌生的作品。白立方美術館也展示了安德莉亞斯·古爾斯基(德國)、西斯特·蓋茨(美國)和貝亞特裡斯·米拉塞斯(巴西)的一系列國際作品。

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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.

19、show to equal advantage 表現同等優勢
20、two-dimensional works 2D平面作品
21、came across 表現得，讓人覺得，給人以…印象
22、sculpture or conceptual art 雕塑或概念藝術
23、subtle pieces 微妙的作品
24、impressionistic desert-scapes 印象主義沙漠風景
25、physical depiction 物理描繪

但並非所有藝術家、美術館和形式都能這這個替代的展覽會上表現出同等優勢。雕塑或概念藝術並不包括在內。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。

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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.

26、gallery-hopping 逛美術館
27、replicate 複製
28、serendipity 意想不到
29、sociability 社交力
30、a communion between …之間的交流
31、swap opinions and share enthusiasms 交換意見和分享熱情

除了深度和質感之外，逛美術館的一些方面是網站不太可能複製。一種是“意外之喜”，即在藝術品之間徘徊，遇到意想不到的東西。另一種是社交力。藝術是藝術家和觀眾之間的交流，但美術館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.

32、compensate 彌補
33、inevitable deficiency 不可避免的缺陷
34、whizzy interactive visits 令人眼花繚亂的互動參觀
35、walk-around tours 藏品巡展
36、standout 引人注目的
37、virtual platform虛擬平臺
38、span 700 years橫跨700年
39、suspend on glass panels 懸掛在玻璃板上
40、crystal easels 水晶畫架
41、close-up inspection 近距離觀察

有的方法可以彌補這些不可避免的缺陷。一些世界上最棒的美術館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度全景影片和藏品巡展，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；遊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聖保羅藝術博物館，那裡的藏品甚至更多。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裡，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。

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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”. At a distance, that is hard.

42、wizardry 魔力
43、a heartfelt demand 一個發自內心的要求
44、neon light 霓虹燈

但這種魔力可能超出了大多數美術館和藝術家的能力。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”在線上展覽則難以呈現。

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Art and culture are the silent victims of social crises. While digital devices have provided alternative modes of communication between art providers and audiences, can virtual tours replace physical visits? How can digital galleries develop to fully engage their audiences? After coronavirus pandemic, what are the challenges for both online and physical exhibitions?

藝術與文化在面臨社會危機時常首當其衝。在數位時代中，遠程科技的運用為藝術提供者與閱聽人提供了不一樣的管道來交流。然而，虛擬的體驗是否真的能替代實際的走訪？虛擬的體驗還能如何發展來更貼近完善閱聽人的體驗？在疫情過後，線上展覽與實體參觀各會面臨怎樣的挑戰？

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完整報導: https://econ.st/2K5Rxc5

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曾日昇畫室IG: https://www.instagram.com/artzeng

想看更多畫，就快去加他的IG!

曾日昇畫室Blog:
https://examplewordpresscom91556.wordpress.com/author/zengsunrise/

#藝術時事英文

Now you can purchase my calendar in Germany, France and England, including online platform Amazon. :)
去年辦個展時，作品被德國出版英國分部的公司相中希望製成月曆。可惜去年時間太感沒能做出，今年繼續被他們窮追不捨，終於出爐！現在在德國、法國跟英國都可以買到我的月曆喔！包含網路平台亞馬遜：）

#daphnehcshen #daphneart #art #calendar #exhibition #germany #france #uk #amazon

http://www.calvendo.co.uk/galerie/daphnes-art-2016/…&

Thanks to Brazilian online traveling platform "Almost Locals" for the interview. The article about ONCE studio & my food art journey is now published online in the link attached. :) Here you can see the English translation of the article:

感謝巴西的旅遊網站Almost Locals 的深度專訪! 界紹了ONCE studio 玩食工作室 , OUNCE magazine 以及我在葡萄牙的"玩食故事"給巴西的讀者們。無比的榮幸！文章全文為葡萄牙語,在此附上英語翻譯：

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Meet the artist who transformed Portuguese food in art

Leslie Wang is 25 years old, is from Taiwan and is completely charmed by Lisbon. Much of this spell is due to the Portuguese food. It is that Leslie, graduated in graphic design at an American university, from adolescence draws everything she eats. What was a hobby, about a year ago became work and Leslie just launched in Lisbon the first edition of 'Ounce', a work that blends art and gastronomy and that results in a delightful script.

Leslie arrived in Lisbon in March to participate in a group exhibition organized by her teacher at Studio Gallery Teambox. It was soon conquered by the local cuisine. And without much effort. "The first thing I ate here it was a toasted sandwich. It was so simple and so delicious, "she recalls, citing the traditional hot Portuguese sandwich which is often finished off with a dollop of butter and oregano.

It was the cue for Leslie start designing Portuguese dishes and not stop more. Her work amazed the chef José Avillez - owner of some Lisbon restaurants, including Belcanto, awarded two stars in the respected culinary guide Michelin. Avillez asked Leslie to draw the entire menu of Belcanto, other chefs knew her, other works were going on in Portugal and then Leslie found a Portuguese inspiration for "Ounce".

"It was an exhibition in Cascais and I saw some old Portuguese newspapers prior to the photograph, which were illustrated. It was so beautiful, "she said, saying the concept was in her head and then she had the idea of gathering a small magazine a few restaurants that have won in Lisbon. She presented the project to chefs and owners of coffee shops and the like and soon landed supporters. "People in Portugal are very creative, very open-minded," he says.

Part of Leslie are about Landeau and its unforgettable chocolate cake (we have already spoken of it here); the cafes of Corallo, a house where the owners have coffee plantations in Sao Tome and Principe; the cool coffee Copenhagen Coffee Lab, the newly opened Danish cafeteria in Lisbon; the Tavern Rua das Flores and its snacks that value Portuguese tradition but with a modern twist. And yet one so many others.

The magazine's name is a play on the Leslie studio name, Once Studio, and with the measure used for recipes - 'ounce' are ounces, a variety of weight measure used in the United States, among other countries. Interestingly, the artist is not much to look at the pots. "I cook on paper," she says.

The work was released in a special edition with only 150 copies that are for sale in the restaurants that were included in the magazine, and some places of the LX Factory, as the bookstore Ler Devagar. Each copy costs 10 euros and Leslie hastens to explain: "It's not really a magazine, it's art. It's not something you'll want to throw away. "

The Portuguese season is not Leslie’s the first "adventure". In 2014, she went to Bolivia to do volunteer work for a few months and ended up staying seven, also working for restaurants, illustrating menus or creating and executing decoration projects. "The food is great, the view is amazing but it's the people I want to stay," she says.

Article by Flávia Motta

http://www.almostlocals.com/lis-conheca-a-artista-que-transformou-a-comida-portuguesa-em-arte/