「我小時候，母親對我說：『如果你當兵，你會成為將軍；如果你當和尚，你會成為教宗。』結果，我成了一名畫家，最後成了畢卡索。」（《國家地理》2018年5月） Jane Arbitter LeePABLO PICASSO ART AUTHENTICATION Pablo Neruda and Pablo Picasso. Ode to Things (Oda a las cosas) by Pablo Neruda 巴勃羅·聶魯達與巴勃羅·畢卡索。 《萬物頌》（Oda a las cosas），巴勃羅·聶魯達作。 Beatriz González 1932~2025《貝婭特麗絲‧岡薩雷斯：與您共度此歷史時刻的榮幸，作品集 1965-1997》20世紀最重要的拉丁美洲藝術家之一，影響了戰後繪畫的發展方向，並以策展人、教育家和導師的身份為哥倫比亞博物館的發展做出了貢獻。

 Beatriz González 1932~2025《貝婭特麗絲‧岡薩雷斯：與您共度此歷史時刻的榮幸，作品集 1965-1997》20世紀最重要的拉丁美洲藝術家之一，影響了戰後繪畫的發展方向，並以策展人、教育家和導師的身份為哥倫比亞博物館的發展做出了貢獻。

Beatriz González
Gonzalez in 2015

“I don’t want to be Botero or only a lady who paints,” Beatriz González said in the early 1960s, a statement she would later revisit. It captures the path forged by the Colombian artist, writer, curator, educator and intellectual—known as la maestra—who died in Bogotá on January 9 at age 93.

「我不想成為博特羅，也不想只是做一個畫畫的女人，」貝婭特麗絲·岡薩雷斯在20世紀60年代初說道，這句話她後來也再次提及。這句話概括了這位哥倫比亞藝術家、作家、策展人、教育家和知識分子——被譽為「女大師」——的人生軌跡。她於1月9日在波哥大逝世，享年93歲。 岡薩雷斯於1932年出生於桑坦德省首府布卡拉曼加，在哥倫比亞動盪的時代背景下成長。當時，抽象藝術或她同時代的費爾南多·博特羅的獨特風格等其他藝術形式盛行。她成為20世紀最重要的拉丁美洲藝術家之一，影響了戰後繪畫的發展方向，並以策展人、教育家和導師的身份為哥倫比亞博物館的發展做出了貢獻。

Born in 1932 in Bucaramanga, the capital of the department of Santander, González came of age in a turbulent context in Colombia, when other forms of expression, such as abstraction or the distinctive style of her contemporary Fernando Botero, reigned. She became one of the most important Latin American artists of the 20th century, influencing the direction of post-war painting and helping to shape Colombia’s museums as a curator, educator and mentor.

https://www.theartnewspaper.com/....../beatriz......

Yet her work is dynamic enough to suggest many things and offers intriguing, if oblique, points of comparison with certain of her New York contemporaries. Her work has, for instance, parallels with that of Andy Warhol. Both artists deal with similar popular material, from tabloid disasters to Last Suppers. Both embody their images in low-art forms (Warhol in industrial silk screen, Ms. Gonzalez on inexpensive furniture). Both disguise an art of passionately alert social observation, behind a facade of studied neutrality.

Warhol, of course, was a key player in the international mainstream market. Ms. Gonzalez is not. She has chosen to forge an artistic universe from her home turf, and it is one of remarkable richness and depth. It is no surprise to learn that when a catalogue of her collected work was being prepared in Colombia in 1984, she insisted the book be titled ''Beatriz Gonzalez: Provincial Artist.'' Like many of her colleagues across the world in the multicultural 90's, she has turned a ''peripheral'' status into a badge of pride.

''Beatriz Gonzalez: What an Honor to Be With You at This Historic Moment, Works 1965-1997'' 

她的作品充滿活力，蘊含著豐富的內涵，並與一些紐約同時代藝術家形成了耐人尋味卻又略顯隱晦的比較。例如，她的作品與安迪沃荷的作品有著許多相似之處。兩位藝術家都關注類似的流行題材，從八卦醜聞到最後的晚餐。他們都將圖像融入低俗藝術形式（沃荷運用工業絲網印刷，岡薩雷斯則運用廉價家具）。他們都以刻意營造的中立表象掩蓋了對社會敏銳而充滿激情的觀察。 當然，沃荷是國際主流藝術市場的重要人物。岡薩雷斯則不然。她選擇在自己的家鄉打造一個藝術世界，而這個世界卻無比豐富而深刻。毫不奇怪，1984年哥倫比亞編纂她的作品集時，她堅持將書名定為《貝婭特麗絲·岡薩雷斯：地方藝術家》。如同同世紀90年代多元文化背景下世界各地的許多同行一樣，她將「邊緣」地位轉化為一種驕傲的象徵。 《貝婭特麗絲‧岡薩雷斯：與您共度此歷史時刻的榮幸，作品集 1965-1997》

Pablo Neruda and Pablo Picasso. Ode to Things (Oda a las cosas) by Pablo Neruda 

巴勃羅·聶魯達與巴勃羅·畢卡索。 《萬物頌》（Oda a las cosas），巴勃羅·聶魯達作

簡·阿比特·李 巴勃羅·畢卡索藝術鑑定

2020年1月17日

「我小時候，母親對我說：『如果你當兵，你會成為將軍；如果你當和尚，你會成為教宗。』結果，我成了一名畫家，最後成了畢卡索。」（《國家地理》2018年5月）

Jane Arbitter LeePABLO PICASSO ART AUTHENTICATION

2020年1月17日 ·

"When I was a child, my mother said to me, "if you become a soldier, you'll be a general. If you become a monk, you'll end up as the pope". Instead, I became a painter and wound up as Picasso." (National Geographic May 2018)






















我的這一天
6 年前




































我的這一天
6 年前








沈金標2015年作品壓得住2019年韓流




























我的這一天
6 年前








約20幾年前，有人說，TSMC要出頭天，所以要寫成tsmc。
台積電真的出頭天了。





彭博商業周刊 / 中文版

2020年1月16日 ·




























我的這一天
6 年前








幾次的韓流史，讓台灣開眼界。
2020選舉前有一場霸韓遊行。那天韓粉結合，是前有人說會有第二次美麗島事件。
隔天，2019.12.22，蘋果日報的頭版是：
韓流再起……
查看更多





Wecare高雄

2020年1月16日 ·

《#給罷韓志工的一封公開信》
轉引自蘋果日報 ……
查看更多


























我的這一天
6 年前








Louis I. Kahn By Robert McCarter. Louis I. Kahn受Josef Alberts的影響







































羅斌

Ode to Things (Oda a las cosas) by Pablo Neruda

I love things with a wild passion,

extravagantly.

I cherish tongs,

and scissors:

I adore

cups,

hoops,

soup tureens,

not to mention

of course--the hat.

I love

all things,

not only the

grand,

but also the infinite-

ly

small:

the thimble,

spurs,

dishes,

vases.

Oh, my soul,

the planet

is radient,

teeming wih

pipes

in hand,

conductors

of smoke;

with keys,

saltshakers, and

well,

things crafted

by the human hand, everything--

the curves of a shoe,

fabric,

the new bloodless

birth

of gold,

the eyeglasses,

nails,

brooms,

watches, compasses,

coins, the silken

plushness of chairs.

Oh

humans

have constructed

a multitude of pure things:

objects of wood,

crystal,

cord,

wondrous

tables,

ships, staircases.

I love

all

things,

not because they

might be warm

or fragrant,

but rather because--

I don’t know why,

because

this ocean is yours,

and mine:

the buttons,

the wheels,

the little

forgotten

treasures,

the fans

of feathery

love spreading

orange blossoms,

the cups, the knives,

the shears,

everything rests

in the handle, the contour,

the traces

of fingers,

of a remote hand

lost

in the most forgotten regions of the ordinary obscured.

I pass through houses,

streets,

elevators,

touching things;

I glimpse objects

and secretly desire

something because it chimes,

and something else because

because it is as yielding

as gentle hips,

something else I adore for its deepwater hue,

something else for its velvety depths.

Oh irrevocable

river

of things.

People will not

say that only

loved fish

or plants of the rainforest or meadow,

that I only

loved

things that leap, rise, sigh, and survive.

It is not true:

many things gave me completeness.

They did not only touch me.

My hand did not merely touch them,

but rather,

the befriended

my existence

in such a way

that with me, they indeed existed,

and they were for me so full of life,

that they lived with me half-alive,

and they will die with me half-dead.

-translated by Maria Jacketti and Dennis Maloney-

羅斌

40分鐘 ·

巴勃羅聶魯達的《萬物頌》

我熱愛一切事物，

奢侈地。

我珍惜鉗子，

和剪刀：

我崇拜

杯子，

箍圈，

湯鍋，

更何況

當然——帽子。

我愛

萬事萬物，

不僅

盛大，

而且是無限的——

利

小的：

頂針，

馬刺，

菜餚，

花瓶。

噢，我的靈魂，

地球

光芒四射，

充滿

管道

在手中，

指揮家

煙霧；

帶鑰匙，

鹽瓶，以及

出色地，

精心製作的東西

透過人類之手，一切——

鞋子的曲線，

織物，

新不流血

出生

黃金，

眼鏡，

指甲,

掃帚，

手錶、指南針、

硬幣、絲綢

椅子的柔軟度。

哦

人類

已經建造

許多純淨的事物：

木製物品，

水晶，

繩索，

奇妙的

表格，

船舶、樓梯。

我愛

全部

事物，

不是因為他們

可能會很溫暖

或芳香四溢，

而是因為——

我不知道為什麼，

因為

這片海洋是你的，

還有我的：

按鈕，

車輪，

小

被遺忘

寶藏，

粉絲們

羽毛狀的

愛蔓延

橙花，

杯子、刀子，

剪刀，

一切都休息

在手柄、輪廓、

痕跡

手指，

遠程之手

遺失的

在最被遺忘的普通地區被掩蓋。

我穿過房屋，

街道，

電梯，

觸摸事物；

我瞥見物體

並且暗暗渴望

因為它會發出鐘聲，

還有別的，因為

因為它同樣容易產生

像溫柔的臀部，

我喜歡它的深水色調，

因其天鵝絨般的深度而具有別的東西。

哦，不可撤銷

河

事物。

人們不會

只能說

喜歡魚

或雨林或草地的植物，

我只

愛

那些跳躍、崛起、嘆息和生存的事物。

事實並非如此：

很多事情讓我感到完整。

他們不只是觸碰了我。

我的手不只是觸摸它們，

而是，

成為朋友的

我的存在

以這種方式

在我身上，它們確實存在，

它們對我來說充滿生機，

他們和我一起半死不活地生活，

他們會和我一起半死不活地死去。

-由 Maria Jacketti 和 Dennis Maloney 翻譯-

70 years of the World Peace Council

LIZ PAYNE pays tribute to the WPC and its struggle against imperialist aggression as it enters its eighth decade this weekend

In 1949 in Paris, the huge assembly — including scientists, teachers, women’s rights activists, lawyers, trade unionists, writers, poets, actors, artists, musicians and students — were united in their condemnation of US-led imperialism as the root cause of war.


---

Ricardo Eliécer Neftalí Reyes Basoalto (12 July 1904 – 23 September 1973), better known by his pen name and, later, legal name Pablo Neruda (/nəˈruːdə/;^[1] Spanish: [ˈpaβlo neˈɾuða]), was a Nobel Prize winning Chilean poet-diplomat and politician.

‎Raymond Gerges B. Abdo‎ 發文到 PABLO PICASSO

6 小時 · 

Two great men of the twentieth century Pablo Neruda and Pablo Picasso ..Neruda died 5 months of Picasso's death in September 23 1973

Once out of Chile, he spent the next three years in exile.^[20] In Buenos Aires, Neruda took advantage of the slight resemblance between him and his friend, the future Nobel Prize-winning novelist and cultural attaché to the Guatemalan embassy Miguel Ángel Asturias, to travel to Europe using Asturias' passport.^[34] Pablo Picasso arranged his entrance into Paris and Neruda made a surprise appearance there to a stunned World Congress of Peace Forces, while the Chilean government denied that the poet could have escaped the country

Pablo Picasso and Pablo Neruda at Paris 1949

----

Paris and Prague 1949[edit]

The World Congress of Partisans for Peace in Paris (20 April 1949) repeated the Cominform line that the world was divided between "a non-aggressive Soviet group and a war-minded imperialistic group, headed by the United States government".^[4] It established a World Committee of Partisans for Peace, led by a twelve-person Executive Bureau and chaired by Professor Frédéric Joliot-Curie, a Nobel Prize-winning physicist, High Commissioner for Atomic Energy and member of the French Institute. Most of the Executive were Communists.^[2][5] One delegate to the Congress, the Swedish artist Bo Beskow [sv], heard no spontaneous contributions or free discussions, only prepared speeches, and described the atmosphere there as "agitated", "aggressive" and "warlike".^[9] A speech given at Paris by Paul Robeson—the polyglot lawyer, folksinger, and actor son of a runaway slave—was widely misquoted in the American press as stating that African Americans should not and would not fight for the United States in any prospective war against the Soviet Union; following his return, he was subsequently blacklisted and his passport confiscated for years.^[10] The Congress was disrupted by the French authorities who refused visas to so many delegates that a simultaneous Congress was held in Prague."^[5] Robeson's performance of "The March of the Volunteers" in Prague for the delegation from the incipient People's Republic of China was its earliest formal use as the country's national anthem.^{[citation needed]} Picasso's lithograph, La Colombe (The Dove) was chosen as the emblem for the Congress^[11]and was subsequently adopted as the symbol of the WPC.