我想念那夕阳

整宿不睡的时候

太阳升起的那一刻

我常感觉生命正在一点一点从我身体里流走 

看朋友的space，朋友的朋友的space...

心里那好不容易才搭起来的墙又塌了 

我这是为了什么远走他乡煎熬着我没剩多少的青春啊。。。

我疯狂的思念着北京 

我不想再当拼命三郎妹了

我觉得自己在迅速的衰老

本命年终于过了，哇卡卡

霉运去去去～～

好运快快来

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。。。）

____________________________________________________________________

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.

 

要不是大家起哄我是真懒的去的

生生从charing cross走到holben....

我的娘。。。

结果压根儿都没看见烟火

就闻烟味儿了。。。

 

我的好姑娘阿~山上的花儿开了~~~