我想念那夕阳

 

你象一阵春风 拂过了我的生命
却只留下一段伤心给我
让我无法寻觅你的影踪
我在这里等你 等成了一棵冬天的树
把对你的思念 开成了花朵
静静守候着你经过
我知道这一切都无法有结局
我只能够把这一切放在心里


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它原本应该是美丽的雪孩子 我们大家的雪孩子
后来它几乎成为wall-E
再后来它差点成了洗衣机。。。

它最终以这样的面孔降临
但它依然是我们最爱的孩子

窗台上的小花终于没能长大
我从来都不是养花的人
不管多么努力 它还是一点一点远去了。。
象所有无法挽回的一切

持续了快两周的阴雨天
终于在今天清晨看到了一点点太阳
就那么一点点稍纵即逝的微光
想起以前我是多么期待北京的雨呀
每到阴天总是大叫着要去天坛
去摸摸天

这个夏天我终于决心结束长久以来黑白颠倒的生活
我要活回正常的人类
早睡早起 跟着上下班的人群昏昏沉沉的在这个城市讨生活
有时我会觉得伦敦的生活其实也没有我形容的那么糟糕
我们只是不得不提早面对生活的压力而已
要是还在北京的话
我永远不会为了房租发愁
面对一个月又一个月没完没了的bill努力算我是应该省饭钱呢还是放弃我要买的东西。。

这只不过是真实的生活而已
在哪里都一样



MUJI真的是越来越体贴了
总是出些让我看了就拼命长草的东西
轻易的碰触到心里柔软的地方
要说伦敦的好。
那真的是总有让我怦然心动的惊喜

偶尔我也会到河边坐坐

或者带着我的相机

马丁说我是个浪漫的人

我想 他认识的那个我也许真的是浪漫的

 

我常常会把很多发生的事跟宿命摆在一起

刚来伦敦的时候 我曾经差一点就住到greenwich去

现在绕了一个大圈 

我竟然还是来到了这里

那天 坐在车上看到曾有一面之缘的地方

我在想 也许一切都是老天安排好了的

他用另一种方式最终还是把我带来了

 

 

 

我们我们要练摊儿————

 

 

 

 

我一直对黑猫有着执着的偏爱

很久以前是因为我幻想黑猫能通灵

后来 想是变成了习惯

 

西巴真的是惹人疼的小东西

他总是讨好的在你身上蹭来蹭去

轻易的唤起我对卡卡的记忆

那可是个磨人的家伙呢

总有耍不完的精力

终于结束了流浪的日子

我们喜迁新居

 

手真肥。。我郁闷。。。

这照片真假啊。。汗

 

途中～

冻的要死要活的结果门口竟然要排队...

组织领导兽～

展厅里不让照相。。只好上小c了。。

燥点的不行。。

亲爱的爬爬～自从买了宝历来没事儿就烧包儿了（弱弱的说一句。。我也挺想买的。。。）

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Anthony McCall ------British-born artist.(form Serpentine Gallery)

British artist Anthony McCall (born 1946) has a cross-disciplinary practice in which film, sculpture, installation, drawing and performance overlap. McCall was a key figure in the avant-garde London Film-makers Co-operative in the 1970s and his earliest films are documents of outdoor performances that were notable for their minimal use of the elements, most notably fire.

After moving to New York in 1973, McCall continued his fire performances and developed his ‘solid light’ film series, conceiving the now-legendary Line Describing a Cone, in 1973. These works are simple projections that strikingly emphasise the sculptural qualities of a beam of light. In darkened, haze-filled rooms, the projections create an illusion of three-dimensional shapes, ellipses, waves and flat planes that gradually expand, contract or sweep through space. In these works, the artist sought to deconstruct cinema by reducing film to its principle components of time and light and removing the screen entirely as the prescribed surface for projection. The works also shift the relationship of the audience to film, as viewers become participants, their bodies intersecting and modifying the transitory forms.

At the end of the 1970s, McCall withdrew from making art. Over 20 years later, he acquired a new dynamic and re-opened his ‘solid light’ series, this time using digital projectors rather than 16mm film. Through his involvement in expanding the notion of cinema, which enabled a more complex experience of projection, McCall has become a hero to a younger generation of artists working with film and installation.

A renewed interest in his work has resulted in many screenings of his individual projections at museums and galleries internationally, as well as inclusion in major group exhibitions, such as Into the Light: the Projected Image in American Art, 1964-77, Whitney Museum, New York, 2001-02; X-Screen: The Expanded Screen: Actions and Installations of the Sixties and Seventies, Museum Moderner Kunst, Vienna, 2003-4; Expanded Cinema: Film as Spectacle, Event, Performance, Hartware Medien Kunstverein, Dortmund, 2004; Eyes, Lies and Illusions, Hayward Gallery, London, 2004; The Expanded Eye, Kunsthaus Zürich, 2006, and Projections: Beyond Cinematic Space, Hamburger Bahnhof, Berlin, 2006-07.

His work is largely unknown to the wider British public and the Serpentine exhibition offers an overview of both the early and more recent works of this seminal practitioner. The exhibition also features previously unseen drawings, studies, scores, photographs and documents, predominantly from the artist’s own archive, that offer an insight into his working practice.