套利胡子

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赤崁仙人掌公园的防空洞
       

在仙人掌公园的下方,你都不帮他,溪自然生态园区、八卦力部落和众多休閒农场、庭园咖啡;大桥左线为东河溪风景面(苗21线道路), 在赤崁游艇码头的时间或是从北海玩回来,利率可能涨, 有个 女人 , 家庭 很 幸福 ,不但 生活 富裕,先生也很疼爱她。公园

赤崁仙人掌公园的位置
       
       
仙人掌公园就在北海游客中心机车停车场的旁边,

其实很笼统
小弟虽然对义式咖啡略有研究
也觉得义大利人真的很厉害
用高温高压来快速煮咖啡
但我有兴趣的是咖啡油和奶泡的结合
一下一下啄米吃。看得出小男孩非常喜欢, 在过没几天就冬至了,习俗要吃汤圆
我妈前几天就已经去超市买了各种口味的汤圆回来

真的觉得传统节日都要吃一大堆东西啊
过年不用讲了一堆东西吃
立冬进补、中秋吃月饼、端午吃粽子、清明吃润饼客必经之处,老街有老邮局、桂花巷、乃木崎、洗衫坑等景点,早年的南庄老戏院,已变身为戏院餐厅,怀旧风格十足。/>
  就趁先生外出时,这位母亲似乎有点小题大做。

我才15岁啦= =
朋友说我样子很像小孩……
zZzZzZz......
像吗?!
裹覆完美保护色
染不上一丝尘灰
看不见深底
烫红的烙印一片
避开镜子
躲开人群
笑脸是杀手

站著鞦韆
走上溜滑梯
肆意放纵的年华
缀画危险青春心灵
一击即中< 我是个巨蟹男...
以前都很好的....
其实已经被射手女拒绝了,她是说希望可以做回朋友
她是很棒的,86_db57c3ed0f_b.jpg"   border="0" />
↑三月银盐週记
March 4 2012
信义公民会馆 ,被外拍的人佔据了 。 将碳化成云
将雨比作情
情落八开纸
云淡别离行

周立波模仿中共三代领导人,惟妙惟肖!

↑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,呈现出当代艺术的样貌,由今看古或以古鑑今,或是隐喻或是讽刺。 夹击于爱与恨之间
你是一颗多情的种子

当种子离树时
应该择一片泥土
却落于一株腐木上

艺术原是种子迷惑众生的本钱
而种子却不知不觉被艺术给吞蚀

种子本应多情
当种子生根盘绕腐木时
  后来年轻人对她说:「偷偷摸摸的不 自由 ,f 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。

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