抽象意图来贯穿,几件影像与装置作品依旧关注的是人,却不再出现具体的身体,而将之简化、抽象化。
https://www.leapleapleap.com/2012/05/马秋莎新作日常之提喻/?lang=zh-hans
[https://www.leapleapleap.com/2012/05/%E9%A9%AC%E7%A7%8B%E8%8E%8E%E6%96%B0%E4%BD%9C%E6%97%A5%E5%B8%B8%E4%B9%8B%E6%8F%90%E5%96%BB/?lang=zh-hans]

With ‘Lovers Grave,’ Tracey Emin Returns, at Full Emotional Volume
Her illness, her traumas and thorny romantic entanglements are writ loud in her
art, on view at White Cube Nov. 4.
https://www.nytimes.com/2023/11/02/arts/design/with-lovers-grave-tracey-emin-returns-at-full-emotional-volume.html

[https://www.nytimes.com/2023/11/02/arts/design/with-lovers-grave-tracey-emin-returns-at-full-emotional-volume.html]

Tracey Emin review – brutal portraits of female pain
A haunted artist excavates her sorrows about love, bereavement and childlessness
in a midlife riposte to British stoicism
https://www.theguardian.com/artanddesign/2019/feb/05/tracey-emin-a-fortnight-of-tears-review-london-white-cube-bermondsey

[https://www.theguardian.com/artanddesign/2019/feb/05/tracey-emin-a-fortnight-of-tears-review-london-white-cube-bermondsey]

Interview with Felix Gonzalez-Torres by Robert Storr
The work of Felix Gonzalez-Torres has quickly risen to a preeminent place on the
international scene as one of the most personal oeuvres in contemporary art. The
great number of shows currently devoted to his output, including the major
exhibition planned for the Guggenheim (17 February - 7 March, 1995) are ample
proof of this attention. Criticized as being a politically correct artist,
Gonzalez-Torres strikes back in the following interview, calling for a veritable
guerrilla war - intelligent and undercover - against the plethora of
straightforward, moralizing works of art with their angry-young-man messages.
You recently took part in an exhibition in London that placed you in context
with Joseph Kosuth, and the pair of you in context with Ad Reinhardt. And I was
struck by the fact that instead of trying to separate yourself from previous
generations, you joined with Kosuth in establishing an unexpected aesthetic
lineage. Could you talk about that a little bit because on the whole, younger
artists generally avoid putting themselves in such close proximity to their
predecessors, especially conceptualists in relation to painters?
https://creativetime.org/programs/archive/2000/Torres/torres/storr.html
[https://creativetime.org/programs/archive/2000/Torres/torres/storr.html]

Cindy Sherman review – pain-laced portraits of a shapeshifting enigma
This retrospective shows us the inscrutable artist plunging into film noir,
skewering the selfie era – and even trying her hand at Instagram
https://www.theguardian.com/artanddesign/2019/jun/25/cindy-sherman-review-national-portrait-gallery

[https://www.theguardian.com/artanddesign/2019/jun/25/cindy-sherman-review-national-portrait-gallery]

FROM THE CRITIQUE OF INSTITUTIONS TO AN INSTITUTION OF CRITIQUE
NEARLY FORTY YEARS AFTER THEIR FIRST APPEARANCE, the practices now associated
with “institutional critique” have for many come to seem, well,
institutionalized. Last spring alone, Daniel Buren returned with a…
https://www.artforum.com/features/from-the-critique-of-institutions-to-an-institution-of-critique-172201/

[https://www.artforum.com/features/from-the-critique-of-institutions-to-an-institution-of-critique-172201/]

张纹瑄谈展览“讲述表演训练要点”
张纹瑄的创作很多时候是从文本出发的。她的书写能力在当代艺术领域内甚至显得有些“过分”优秀了，虽然这未必总是优势——当代艺术展示对于视觉和空间的要求也让文本在进入展厅时面临种种挑战。在过往创作中，她寻找将档案活化的方式，赋予其新的情境、触碰规则和理解管道。《鱼尾狮是如何消失的？21世纪成功叙事学》是张纹瑄第一件真正意义上的表演作品，在此文本“得到”了身体，以此为基点，