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Benedetto Croce and RG Collingwood advanced the idealist view that art expresses emotions, and that the work of art therefore essentially exists in the mind of the creator.

克罗齐和RG科林伍德先进的唯心主义观点，即艺术表达的情感，而艺术作品因此基本上是存在于心灵的创作者。

Dedicated in curatorship, spreading and promotion of China's contemporary photography and management of art projects and galleries June,1996 to April, 1998, hostess of the column of "Photographer Interview" and editor of theory edition of People's Photography; April, 1998 to year 2005, photo editor and photo chief director for New Express under Yangcheng Evening News Group; August, 1998, planning and organizing South China Press Photo Advanced Seminar; 2000, compiling Chinese Story, a great realistic photographic book reflecting living status of all walks of life of China in the 20th century's; 2001 to 2003, taking a 3-year Chinese Master Course as a member chosen by World Press Photo; 2005, initiator and curator of Lianzhou International Photo Festival as project and art director; 2005 end, chosen as Top Ten Character of China Photography of the Year; January, 2006, curator for "Ever-Changing Fragrant River"--Qiu Liang Solo Exhibition, Guangdong Gallery; January, 2006, curator for "Chairman Mao in My Lens"-- Lv Houmin Solo Exhibition, Guangdong Gallery; February, 2006, curator for Moscow Photo Festival; March, 2006, attending Oracle (an international organization of museums of photography) Conference as representative for China Photo Festival invited by FotoFest; May, 2006, special curator for "China Photography 50 Years"- Large Retrospective Exhibition; November, 2006, invited judge for FOTOBILD, Berlin, Germany; January, 2007, invited curator for Chinese Work in Paris Photo Biennale; 2007, member of review panel for Rhubarb-Rhubarb, Birmingham, UK; 2007, member of review panel for FOTOBILD, Berlin, Germany.; April 2008, member of jury ot the 1st Thessaloniki PhotoBiennale 2008, Greece.

致力于中国当代摄影的策展、传播、推广以及艺术项目、艺术空间的管理。

She to the east the north woman writer is special simple and quiet,created to have a series of literature work of higher art value, her workwas current on farming eclogue sentimental appeal in the park, and thenhaving to describe for the original ecosystem of the reality life, presenta special art appearance thus.

她以东北女作家特有的淳朴、沉静，创作出有较高艺术价值的文学作品，在她的作品中既有一种田园牧歌情调，又有对于现实生活的原生态描述，因而呈现出独特的艺术风貌。

The kind of creation is developed from embossment to independent 3-D work, then the designed sample of public art, art of environmental decoration, and the mold of construction are invented, the application of color is more colorful and has more splendid effect of decorative pattern in Baroque style than the past serial works.

、近期－19872002：本期的作品，运用电脑与其他金属媒材来创作，作品的种类由浮雕版画发展到独立的立体作品，进而有公共艺术、环境装饰艺术与建筑模型的设计样本，色彩运用也比以往的系列更丰富、更具有巴洛克式装饰花纹的缤纷效果。

My thesis explores a phenomenology of bodies that concerns artists and audience in the process of art, using such concepts as described in Merleau-Ponty and Experientialist writings. It is meant as a deeper look into the complicit connections that exist in between the artist, the work of art and the spectator, which I argue constitute a shared matrix for what we know as experiences of creation and reception.

本研究由梅洛庞蒂(Maurice Merleau-Ponty)与体验论对於身体的概念出发，探究艺术家与观众於艺术活动中的身体现象；研究的主旨在於建立艺术家、观众与艺术品之间的联系，并且探究艺术家与观众於艺术创作与观赏经验中的基础。

Ann Sumner由奥利弗费尔克拉夫,安女士萨姆纳 Hudson Hills Press, 02/2009, 176 pages, English哈得孙山出版社,02/2009,176页,英语 Show synopsis 展览简介 In the early part of the twentieth century, two extraordinarily forward-thinking Welsh women, Gwendoline and Margaret Davies, amassed a collection of work by the most important names in the Realist, Naturalist, Impressionist, Post-Impressionist, and Fauvist movements at a time when modern art, especially French art, was largely ignored in Britain.

在20世纪初，两个非常有远见的威尔士妇女，格温多兰和玛格丽特戴维斯，积累了在现实主义，自然主义，印象派，后印象派，野兽派画家和运动的最重要的名字在时间的作品集当现代艺术，尤其是法国的艺术，在很大程度上忽略了英国。

More often than not, the students devoted part of their works to the discussion of Benjamin or discussed him together with others in their works. The former practice includes the French scholar. R. Rochlitz, who wrote a chapter, the Price of Modernity in his monograph the Disenchantment of Art: the philosophy of Walter Benjamin, dealing with chidhood and memory, the end of the Art of story-telling, lyric poetry at the epoch of capitalism allegory and the evaporation of the Aura, etc. The latter practice includes D. Frisby who placed Benjamin on a par with Simmel, Kracauer in his work Fragments of Modernity, claiming that Benjamin, similar to the others, focused on the trans ie nce of the e XP er ie nce of modernity.

前者如法国学者R·洛希里兹的专著《艺术的去魅——本雅明的哲学》中有一章名："现代性的代价"，内容涉及儿童和记忆、讲故事艺术的终结、资本主义抒情诗歌、寓言、灵韵的消失等；后者如D·弗瑞斯比在其著作《现代性的碎片》中将本雅明与齐美尔、克拉考尔相提并论，强调本雅明同他们一样，关注的核心在于对现代性体验的短暂易逝的特性。

More often than not, the students devoted part of their works to the discussion of Benjamin or discussed him together with others in their works. The former practice includes the French scholar. R. Rochlitz, who wrote a chapter, the Price of Modernity in his monograph the Disenchantment of Art: the philosophy of Walter Benjamin, dealing with chidhood and memory, the end of the Art of story-telling, lyric poetry at the epoch of capitalism allegory and the evaporation of the Aura, etc. The latter practice includes D. Frisby who placed Benjamin on a par with Simmel, Kracauer in his work Fragments of Modernity, claiming that Benjamin, similar to the others, focused on the transience of the experience of modernity.

前者如法国学者R·洛希里兹的专著《艺术的去魅——本雅明的哲学》中有一章名："现代性的代价"，内容涉及儿童和记忆、讲故事艺术的终结、资本主义抒情诗歌、寓言、灵韵的消失等；后者如D·弗瑞斯比在其著作《现代性的碎片》中将本雅明与齐美尔、克拉考尔相提并论，强调本雅明同他们一样，关注的核心在于对现代性体验的短暂易逝的特性。

I also like to do a movie or television backstage to work person, I like this art realm, I even all once thought future as long as can let me step to do an own favorite art dependably and actually, I can don't guerdon!

我也喜欢做一个电影或者电视幕后工作人、我喜欢这个艺术领域、我甚至都想过将来只要能让我踏踏实实干自己喜欢的艺术，我都可以不要报酬！

Horst's work were shown in several important museums such as Center for Photography in Moscow, Musée Maillol in Paris and in various gallery exhibitions in London, New York, Los Angeles and Munich. Over the last 10 years Galerie Volker Diehl has participated in many major international art fairs such as The Armory Show, FIAC Paris, Art Dubai, Shanghai Contemporary and Pulse.

在过去的十年间，沃尔克·迪尔画廊参加了许多最权威的国际艺术博览会，如军械库博览会、巴黎国际当代艺术博览会、迪拜艺术博览会、上海当代艺术博览会等。

But we don't care about Battlegrounds.

但我们并不在乎沙场中的显露。

Ah! don't mention it, the butcher's shop is a horror.

啊！不用提了。提到肉，真是糟透了。