艺术家

I always wanted to work on basketball and I was given the chance in 2000 to join the dev team as an artist.

我一直想工作的篮球，我有机会在2000年加入开发团队作为一个艺术家。

Based on their technical skills and artistic creativity, they sought a new style of performance to take diabolo dance beyond imagination.

1986年，一群年轻表演艺术家，以扯铃为圆心，剧场创意为半径，开始探索一个全新的表演型式，并引领观众进入一个超越想像的舞台世界。

In this picture Yin Zhaoyang played a role of dialogist with history.

尹朝阳总是力图在作品中对自己感兴趣的历史问题提出批判，诸如乌托邦系列等等，他的这种审视更多地是从自身的理解角度出发的，就像这件《对话》，艺术家本人就扮演了一个历史对话者的角色。

I'm a wire wrap and dichroic glass artist.

我是一个卷线和二色玻璃艺术家。

Panda this black and white and dichromatic, and American artist dresses up Chinese panda with various dress however, have confuse colour to take still American ensign is taken, a kick in one's gallop, the sculpture giant panda that puts on these dress more foolish condition but Ju, clever interest again and again.

熊猫本就黑白两色，而美国艺术家却用各式服饰装扮中国熊猫，有迷彩服还有美国国旗服，异想天开，穿上这些服饰的雕塑大熊猫更加憨态可掬、妙趣连连。

Just because that we adopted the attitude of pragmatism while absorbing the western culture and thoughts, so shielded the redemption consciousness of western culture and sacrifice spirit; shielded the loftiness of tragedy and Bacchus spirit of Dionysos; shielded the western wise man's criticism spirit of self-subversion against metaphysics; shielded the artists 'courage of confronting reality and fearless art experimentation spirit.

正是由于我们在吸纳西方文化思想过程中急切地采用了实用主义的态度，因而屏蔽了西方文脉中的救赎意识、牺牲精神；屏蔽了悲剧崇高及狄奥尼索斯的酒神精神；屏蔽了西方哲人对"形而上学"自我拆解、自我颠覆的批判精神；屏蔽了艺术家勇于对抗现实以及大无畏的艺术实验精神。

These works, with their different concepts and diverse range of materials, require direct examination and evaluation on the part of the audience.

在这里，我们不打算沿着"喻体"与"镜像"的思路一一阐释参展艺术家的具体作品，那些观念不同材质各异的作品需要人们去直接审视与评判。

They are all imagined, conceived, directed and set up by the artist himself.

他们都是由艺术家自己设想、构思、导演和创作出来的。

The artist herself describes how to approach her work:"The more every single recipient intrudes into this picture world - consciously and subconsciously - the clearer it gets that terms like discrepance, ambivalence and ambiguity match the work more than consistent interpretation."

艺术家是这样描述她作品的欣赏方法的：当受众越逼近这个图片世界时，无论是有意识的还是无意识的，他会更清晰地感受到'差异'、'矛盾心理'、'含糊不清'这些词比持续不断的分析解释更适合该作品。

In fact, what the artist establishes is a supplementary relationship of endless play. Liu's practice discursively oscillates between the referent (i.e. the social frame or world of nature) and that which eludes language i.e.

实际上，艺术家演示出在不同主题之间无序的切换和摇摆，这种摇摆是言外之意，处于所指事物（如社会框架、世界或自然）和语言之外的范畴之间。

The split between the two groups can hardly be papered over.

这两个团体间的分歧难以掩饰。

This approach not only encourages a greater number of responses, but minimizes the likelihood of stale groupthink.

这种做法不仅鼓励了更多的反应，而且减少跟风的可能性。