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2019年11月18日 10:38:24

Turns out, scorpions don#39;t taste so bad -- though eating them is more about texture than flavor. They do impart a satisfying crunch.事实明,蝎子并没有那么难吃──虽然吃蝎子更多的是质感而非味道上的体验。咀嚼它们,的确能给人带来一种令人满足的嘎吱嘎吱的响声。I was with my husband and three children in Li Qun, a roast-duck and fried-insect restaurant in a back alley of a rundown hutong -- a neighborhood of traditional courtyard houses -- in Beijing. The only #39;facility#39; was a hole in the ground down the block, but still, on the walls of the restaurant hung photos of famous visitors: Jet Li, Al Gore.当时,我和丈夫及三个孩子在利群──一家位于北京一条破旧胡同后巷、供应烤鸭和炸昆虫的餐馆。胡同是传统四合院住宅的街区。那儿唯一的“厕所”就是街区尽头地上的一个洞。尽管如此,在这家餐馆的墙上还是挂着造访此处的知名人士的照片:李连杰和前美国副总统阿尔#12539;戈尔(Al Gore)。My two eldest kids, 10 and 8, were determined to have some dining escapades in China. In the Wangfujing night market, we#39;d seen live, shoe-size arthropods impaled on sticks, y to be cooked, but the yuck factor was insurmountable. At Li Qun the bugs were an inch long, dipped in batter, and deep fried, making them just palatable enough. In a we made, my 10-year-old, Gideon, plucks a crispy critter from a bed of rice crackers, pops it into his mouth and swallows. #39;Tastes just like cockroach!#39; he exclaims. Then he entreats me to crunch a scorpion for posterity. And because my family was in Asia to do what good travelers around the world do -- push ourselves outside our comfort zone -- I did.我最大的两个孩子分别为10岁和8岁,他们决定在中国进行一些饮食文化上的冒险。在王府井夜市上,我们看见了串在签子上、鞋子大小的活的节肢动物正等着下锅,但难吃、令人恶心的因素令我们难以逾越。在利群餐馆,那些虫子有一英寸长(约合2.5厘米),浸入面浆后再充分油炸,这样就使它们吃起来够美味。在我拍摄的一段视频中,我10岁的儿子吉迪恩(Gideon)从一堆米饼上撕扯下一块脆皮虫身、扔进嘴里然后咀嚼起来。他大叫道:“尝起来就像是!”然后,他恳请我为子孙后代咬一只蝎子。因为我的家人在亚洲做了全球各地的好游客都会做的事──将我们自己推出舒适区──所以我就吃了。Beijing is not the most obvious destination to visit with children. The traffic is murder, the smog so bad locals wear face masks and the tap water isn#39;t potable. #39;It#39;s so dirty,#39; a Chinese-American friend back home warned; we should time our trip to avoid spring#39;s dust storms, someone else suggested. But our children had just completed their first year of Chinese-immersion school in New York, and after months of research, we concluded that the capital might be more kid-friendly than it seems.带着孩子出行游玩,北京并不是最明显、最合适的一个目的地。那里的交通状况真要命,雾霾严重、以至于当地人都得戴面罩,而且自来水也不能直接饮用。一位华裔美国人朋友从北京回来以后警告我说“那里太脏了”;另一个人则建议我们要安排好旅行时间、避开春季的沙尘暴。但我们的孩子才刚刚在纽约上完了第一年的浸入式中文课,而且在经过数月的研究后,我们得出结论,首都北京比它表面上看起来更适宜儿童。In Beijing, the ancient is constantly butting heads with the modern. Songs, Mings, Qings and many other dynasties ruled China from the city, over the centuries erecting the Forbidden City, the Summer Palace and the Great Wall. Now those icons have competition from attractions like the 0 million National Aquatics Center -- or Water Cube -- and the National Stadium (aka the Bird#39;s Nest), built for the 2008 Olympics.在北京,古典与现代一直在持续碰撞。宋、明、清及其他许多朝代都在此地建都、统治中国,数百年来,紫禁城、颐和园与长城也在北京一一建成。如今,一些新兴名胜──如耗资1.4亿美元、为2008年北京奥运会而建的国家游泳中心(或被称为水立方)及国家体育场(又名鸟巢)──与上述那些标志性古迹展开了竞争。Our stint in Beijing capped off a two-week visit to eastern China, most of it spent in tiny villages and holiday spots unfamiliar to Americans. Remote Lands, which specializes in custom tours of Asia, did most of the planning, booking hotels, transfers and many activities. With the bulk of the logistics taken care of, we had space for serendipity and discovery.我们在北京短暂逗留后,便进行了一次为期两周的华东之行,其间,我们大多数时间都住在了美国人不太熟知的小村庄和度假景点。远陆(Remote Lands)是一家专注于亚洲定制游的旅行公司,它为我们做好了大部分的计划、订酒店、安排交通出行以及许多活动。由于大部分的后勤都已被安排好,我们就有了意外发现珍奇事物和探索的空闲。In Beijing, we started where everyone else does: in Tiananmen Square, built in 1415 as the royal entrance to the Forbidden City, the imperial palace. The square was thick with Chinese tourists, and to their eyes my family must have been a novelty -- people insisted on taking photos with my blond husband and pulled my 5-year-old daughter, Talia, from her stroller for more shots. (I was invisible; perhaps brown-haired mothers aren#39;t so remarkable.)在北京,我们从其他每位游客都会选择做为出发点的地方开始游玩:天安门广场。它建于1415年,当时是作为皇室通往皇宫紫禁城的入口。广场上满是中国游客,在他们眼里,我们一家人一定很新奇--人们坚持要跟我金发碧眼的丈夫合影,还把我5岁的女儿塔莉娅(Talia)从她的折叠式婴儿车上拉过来多拍了几张照。(我就是个透明人;可能棕色头发的妈妈不是那么能引人注意。)The Forbidden City is beautiful and well preserved, from the gilded lions guarding the Gate of Heavenly Purity to the serene Imperial Garden. The kids recognized the complex from Bernardo Bertolucci#39;s 1987 film, #39;The Last Emperor.#39; But little ones can only take so many halls of thrones and tapestries. (#39;Where is the princess?#39; my daughter asked our guide a number of times.) So we went to take a rickshaw ride through courtyard houses yet to be replaced by gleaming condos.从守卫在干清门的镀金狮子到宁静的御花园,美丽的紫禁城保存完好。孩子们认出了这些建筑群就是导演贝纳多#12539;贝托鲁奇(Bernardo Bertolucci)在1987年拍摄的电影《末代皇帝》(The Last Emperor)中所呈现的场景。但小孩子们也就只能意识到有这么多摆着龙椅和悬着挂毯的大厅,仅此而已。(“公主在哪儿呢?”我女儿问了我们导游好几次这个问题。)于是我们去坐了趟人力车,穿过了一家家四合院,它们现在还尚未被流光溢的公寓所取代。A kind woman let us enter her hutong home, which made up one side of a courtyard. The mistress of the house was so well off, she explained, she did not have to work. My jaded little New Yorkers were baffled. Two rooms for three people? A shared stove -- outside?帝 My husband and I attempted to turn this into a teachable moment, but the kids had moved on and were exclaiming over the mistress#39;s pet cricket.一位友善的妇女让我们走进了她在胡同里的家,这户人家占据了一座四合院的一边儿。那位妇女解释说,这家的女主人生活相当富足,她都无需工作。这让我们家善嘲讽的小纽约客们感到困惑不已。两个房间要住三个人?共用一个灶--还是在外边?我和丈夫本想试着把此时此刻变成教育孩子们的好时机,但他们却已开始往前走并朝着女主人养的宠物蛐蛐大喊大叫起来。To work off some of their energy, we raced up the steps of the Drum Tower, a 154-foot-tall structure built during the reign of Kublai Khan. As we arrived, 25 percussion students entered the hall, and in perfect unison pounded the hell out of 6-foot-wide drums. We had to rush off to an hour-long date that Remote Lands had scheduled with a master kite-maker. In his tiny kitchen, he taught the kids to make miniature kites by heating sticks of bamboo over a candle until they were pliable, then gluing on sheets of rice paper. Rain had cleared the sky of smog and the streets of muck, and in the quiet hutong, my children flew their painted masterpieces -- a butterfly, a dragon and a bird.为了让他们消耗点儿精力,我们比赛跑上了鼓楼的台阶。这座高154英尺(46.7米)的建筑修建于忽必烈统治时期。当我们到那儿的时候,正赶上25名打击乐团的学生走进大厅,他们的乐器击打声与猛击六英尺(约1.8米)宽的鼓形成了完美的和鸣。我们还得急着赶去另一个时长一个小时的约会,那是远陆(Remote Lands)旅行社为我们安排的与一位风筝制作大师的会面。在大师狭窄的厨房里,他教了孩子们制作微型风筝:将竹棍置于烛火上烤,直到它变得柔韧易弯,然后糊上一张宣纸。雨水洗刷了天空中的雾霾,冲掉了街上的尘土污泥,在宁静的胡同里,我的孩子们放起了他们画出来的杰作--一只蝴蝶,一条龙和一只鸟风筝。At a corner store, while my husband took snaps of a ramshackle soda display, our 8-year-old, Malachi, reached into a basket for a tart yogurt drink he#39;d come to love. He took a sip from the straw, then made a sour face. #39;Someone aly drank it!#39; he yelled. Using their broken Mandarin, the children learned from the shopkeeper that Malachi had pulled the bottle from a recycling basket.在一间位于拐角的店铺里,当我丈夫在抓拍一字摆开的苏打水时,我们8岁的儿子玛拉基(Malachi)将手伸进了一个篮子中、够到了一瓶酸奶饮品--他觉得自己会非常喜欢喝。他用吸管吸了一口,然后一脸酸相。“这瓶有人喝过了!”他喊道。孩子们用蹩脚的中文从店主那里得知,那个瓶子是玛拉基书从废物回收的篮子里拣出来的。We morbidly joke that Malachi#39;s last words will be #39;Hold my beer and watch this.#39; But he does make our family more intrepid. At the Wangfujing night bazaar, a street swarming with food stalls, tchotchke booths and shoe peddlers, he bought a ceramic #39;tea boy#39; that was supposed to urinate once filled with hot water; when it didn#39;t work, he negotiated for a new one. He convinced fruit vendors to let him try one of everything. At the Summer Palace, imperial gardens that date to the mid-1700s, he ignored guards#39; warnings to stop rock-hopping along the edge of a lake. What did he care -- he was 7,000 miles from home!我们病态地开玩笑说,玛拉基的临终遗言将会是“帮我拿一下啤酒,看看这个。”但他确实让我们一家变得更加勇猛无畏了。在一条街满是小吃摊、小玩意儿地摊和卖鞋小贩的王府井夜市上,他买了一个本应该在加满热水后就开始尿尿的陶瓷制品“茶壶男孩”;结果因为不能用,他又去跟卖家周旋换了一个新的。他还说了水果小贩,获准可以把每一种水果都拿一个尝尝。在18世纪中期修建的皇家园林颐和园中,他也无视保安的警告--不要沿着湖边跳过石头。他才不管呢,他在乎的是--他在距家7000英里(约合11,265公里)远的地方!And unlike at home, in China we adopted some of his attitude. We jumped down the stairs of the ancient Bell Tower, across the street from the Drum Tower; we crashed a wedding reception at the Raffles Hotel.不像在家里,在中国的时候我们接受了他的一些态度。我们从古代钟楼的楼梯上跳下来,从鼓楼出来横穿马路;还闯入了莱佛士大酒店(Raffles Hotel)里的一场婚宴。On our final day in Beijing, a driver took us to one of the best-preserved sections of the Great Wall, Mutianyu. Navigating the market that lined the path from the parking lot took time: Malachi had to bargain for T-shirts, passion fruit and chess sets. (Our matching Communist Youth hats cost each.) On the stairs of the wall, Talia declared, #39;I am a great stepper!#39; though she later clarified that she wasn#39;t the Queen of Walking. I put her on my shoulders as we made our way to the Schoolhouse, a former primary school where artists in residence can now blow glass or paint, and students learn to grow organic produce and cook it in the property#39;s restaurants.在北京的最后一天,一位司机载我们去了长城保存最完好的一段:慕田峪。从停车场出来,经过的道路两边都设有市场,从市场里寻路走过去花了我们不少时间。玛拉基得砍价买T恤、西番莲果和国际象棋棋具。(我们那些正好合乎脑袋大小的共青团帽每顶卖一美元。)在长城的阶梯上,塔莉娅宣布称:“我是名伟大的登高者!”尽管之后她又澄清道,自己真的不是徒步女王。在去小园餐厅(Schoolhouse)的路上,我就把她顶在自己肩上。这里曾经是所小学,现在居住于此的艺术家们则可以吹玻璃或者作画,而学生们也可以学习种植有机农产品并在其附属的餐厅里烹饪它们。We scanned the at one, called the Canteen; there were no scorpions to be had. Across the brick courtyard, I made eye contact with another foreign mom. She winked and raised her glass. At that moment I was certain that, despite the language barrier, despite the used yogurt, despite the sometimes hectic schedule, seeing Beijing through my children#39;s eyes was worth the inconveniences. And where else would I have the guts to eat a scorpion again?我们不约而同地扫视了一下菜单,给餐厅打了电话;这里没有蝎子可以吃。透过砖瓦建成的四合院,我的目光与另一位外国母亲两两相对。她朝我眨眼示意并举起了玻璃杯。那一刻,我非常确定,尽管存在语言障碍,尽管酸奶已被人喝过,尽管行程有时匆忙紧凑,但让我的孩子们用自己的眼睛看看北京,受些罪也值得。再说,这世上还有什么地方能让我有胆量再吃一只蝎子呢? /201405/301515吉安整形医院瘦脸针吉安洗纹身多少钱吉安市中心医院祛疤多少钱

吉安中医院激光去斑多少钱江西省吉安保仕柏丽整形医院去痘多少钱Apart from its showier signifiers of wealth, a wholesome enthusiasm suffuses the Oslo art scene, perhaps because of its geographic isolation, extreme climate and high cost of living. At the April reopening party of Kunstnernes Hus (Artists#39; House)-a club across the street from the Royal Palace-more than 100 people waited in line outside the door. Inside, Karl Holmqvist-one of the most famous artists in Sweden-performed onstage. #39;Who runs the world? Girrrrls,#39; he bleated into the microphone. Half the room watched while the other half talked giddily over beers from Dronebrygg, an Oslo-based artist-run microbrewery. 除了巨大的资金持,奥斯陆的艺术圈弥漫着积极向上的热情,这一景象的产生原因可能在于奥斯陆偏远的地理位置、极端的气候以及高昂的生活开销。今年四月,皇家宫殿(Royal Palace)对面的艺术家中心(Kunsternes Hus)举办重新开放聚会时,有一百多人在门外等场。室内,瑞典最红的艺人之一Karl Holmqvist重新演绎了碧昂斯的《女孩最大》(Run the World(Girls))。一半观众欣赏了表演,另一半则嘻嘻哈哈地聊着天,喝着由艺术家经营的本地小啤酒厂Dronebrygg生产的啤酒。 STATOIL KEEPS REGIONAL headquarters in Fornebu, an office park rising on the outskirts of town that recalls the corporate anomie of Paris#39;s La Défense. In 2007, Statoil merged with the oil and gas division of Norsk Hydro and, in the merger, took over some of that company#39;s art collection. Bjarne Vaaga, an art historian and consultant with the Statoil Art Program, focuses on acquiring works from emerging Norwegian and international artists for the company. #39;I think it was very good advice from Edvard Munch: He said, #39;Only buy art from living artists,#39; #39; says Vaaga. Indeed, the company seizes every opportunity to showcase its collection: hanging work in its offshore rigs and throughout its office buildings from Houston to Stavanger. A 12,900-square-foot installation by Swiss artist Pipilotti Rist plays on the underside of the Fornebu office#39;s main entryway. Nearby sits a spherical sculpture by Danish-Icelandic artist #211;lafur Elíasson. Once construction is complete, Ekblad and Standard (Oslo) artist Gardar Eide Einarsson will also have works on display around the Fornebu campus. 挪威国家石油公司(STATOIL)的区域总部在Fornebu。公司的大楼在市郊拔地而起,很有法国巴黎拉德芳斯站(La Defense)的感觉。2007年,挪威国家石油公司兼并了挪威海德鲁公司(Norsk Hydro)的石油及天然气部,并在兼并的过程中接管了一部分该公司的艺术藏品。挪威国家石油公司艺术项目的艺术史学家兼顾问Bjarne Vaaga让公司把目光投向挪威新兴艺术家以及国际艺术家。Vaaga说:“我觉得爱德华#12539;蒙克(Edvard Munch)说的很好,‘只从活着的艺术家手中购买艺术品。’”确实,这个公司不放过任何展示自己艺术收藏的机会:不论是离岸 井上,还是其在休斯顿亦或是斯塔万格(Stavanger)的办公室大楼,都挂有艺术品。Forbune办公室的主要通道的地面有一个由瑞士艺术家皮皮鲁提#12539;瑞斯特(Pipilotti Rist)设计的足有12,900平方英尺(约1,198平方米)的视频装置。其附近则有一座由一名丹麦裔冰岛艺术家设计的球状雕塑。一旦公司建筑完工,艾克巴莱德和Standard (Oslo)的艺术家加达#12539;埃德#12539;埃纳尔松(Gardar Eide Einarsson)的作品就会入驻其间。 The corporate interests at play and the bureaucracy surrounding the subsidies call into question the realness of the Norwegian art market: Is it really just a bubble of vainglorious ambition? The cynical view, which people voice out of the corner of their mouths, is that artists#39; stipends are cheaper for the government than unemployment benefits. But many disagree. Over green tea and carrot soup, Marta Kuzma, the American director of Norway#39;s Office for Contemporary Art (OCA), explains how public financing has breathed genuine creative life into the city. #39;I think when people are feeling positive in a community and a community is building, it#39;s very creatively free,#39; she says. #39;A community creates a vibe and an impetus to be with one another.#39; 企业的收购以及官方的补贴让人们不禁质疑挪威艺术市场的真实程度:这种野心是否太虚荣?人们冷嘲热讽,说政府觉得给艺术家补贴比发放失业补助金更便宜。但也有许多人并不同意。挪威当代艺术局(Office for Contemporary Art, 简称OCA)的美国主任玛塔#12539;库兹玛(Marta Kuzma)就着绿茶和胡萝卜汤,解释了公共财政持如何将艺术创意之风吹入了城市生活中,“我觉得只要人们觉得在一个团体里感觉良好,这个团体又在成长,创作就会更自由。而一个团体也会培养出自己的气场和动力,跟其它团体共同成长。” Before joining OCA eight years ago, Kuzma held a long line of top-tier curatorial posts stretching from Washington, D.C. to Kiev, including curator and agent for the last Documenta art fair in Kassel, Germany. At OCA, her job is to cultivate a unique, internationally heard voice for Norway. The Norwegian Ministry of Culture and Ministry of Foreign Affairs pooled money to start OCA in 2001, as what Kuzma calls an #39;object of curiosity.#39; One of the organization#39;s aims is to give artists and curators from around the world an incentive to stay longer than 24 hours in Oslo-to make the capital more than just a quaint stopover on the international circuit. In that regard, Norway has catching up to do with the likes of Switzerland, Germany and Austria, Kuzma says. But when austerity means the slashing of cultural funding across Europe, Norway is well positioned to join those countries better known historically for promoting the arts. 八年前库兹玛还未加入OCA的时候,她在不同地方担任过顶级艺术管理职位:从华盛顿特区到基辅(Kiev),包括去年的卡塞尔文献展(Documenta Art Fair in Kassel),都留下了她的足迹。在OCA,她的职责是培养挪威的独特性,并将其推广到全世界。挪威文化部与外交部(Ministry of Foreign Affairs)筹集了资金,于2001年成立了OCA,它被库兹玛戏称为“好奇心的产物”。这一组织的目标之一便是给来自全世界的艺术家和馆长一个留在奥斯陆的理由,让这座首都不仅仅是国际航线的中转站。库兹玛说,在这一点上,挪威已迎头赶上了瑞士、德国以及奥地利。但是,当经济下滑导致整个欧洲艺术基金严重缩水时,挪威已充分准备好与那些在艺术上有很高造诣的国家结为联盟。 For his part, Furnesvik has found it easiest to promote Norwegian artists as a gallerist and businessman working in the private sector. Not unlike the shipping companies that enjoy easy access to the North Sea, Norway is a base of operations for Furnesvik, not a market. He says 75 percent of the work sold at Standard (Oslo) leaves the country. #39;The local market has never been the reason the gallery started,#39; he says. With few exceptions, Standard (Oslo) has launched the careers of the most internationally sought-after living Norwegian artists-Fredrik Vaerslev, Matias Faldbakken and Einarsson-and boosted the international profile of the American artists it represents, like Tauba Auerbach, Alex Hubbard and Josh Smith. According to Furnesvik, for certain artists, like Faldbakken, there#39;s more global demand for the work than the gallery could possibly supply. Last spring, days before Furnesvik#39;s 40th birthday, Standard (Oslo) expanded into a 8,400-square-foot white-cube space. Furnesvik发现推广挪威艺术家最简单的方法就是把他们打造成艺廊经营者以及私有领域的商人。挪威与那些可以用便捷方式到达北海的航运公司并无不同,对Furnesvik来说,挪威更像是操作基地,而非市场。他说,Standard (Oslo)售出作品的75%都已经被带出挪威,“当地市场从来就不是艺廊开张的原因。”但是也有例外。Standard (Oslo)成功地帮助了一些挪威最当红的国际艺术家开启事业大门,如Fredrik Vaerslev,Matias Faldbakken以及埃纳尔松,也提升了其代表的美国艺术家的国际形象,如托巴#12539;奥尔巴赫(Tauba Auerbach),亚历克斯#12539;哈伯德(Alex Hubbard)以及乔希#12539;史密斯(Josh Smith)。据Furnesvik所说,对一些类似Faldbakken的艺术家来说,他们作品的国际需求,艺廊还远不能满足。去年春天,就在Furnesvik 40岁生日的几天前,Standard (Oslo)扩展出了了一个有8,400平方英尺(约780平方米)的白色立方型空间。 While artists, gallerists and even the government have begun to voice their artistic ambitions internationally, a serious class of Norwegian art collector has yet to emerge. It#39;s one reason why a gallery of Standard (Oslo)#39;s caliber has to conduct so much business abroad. Given the country#39;s middle-class ethos of equality, collecting contemporary art isn#39;t an obvious exercise for the young moneyed class. (The oft-ed Law of Jante, an informal Scandinavian social code coined by the author Aksel Sandemose in 1933, discourages citizens from rising above his or her social station.) #39;If you go to New York, the financial industry is the biggest thing,#39; says Furnesvik. #39;Within that, if you are to be considered an educated person, you have to aspire to collect art. It#39;s somehow expected of you, on the same level as wearing a tie. There is none of that in Norway. It#39;s a culture of equality.#39; 虽然艺术家、艺廊经营者乃至政府都已经向世界宣告了他们的艺术野心,但是挪威并没有出现真正的艺术收藏阶层。这是Standard (Oslo)的艺术品大量外销的原因之一。挪威的中产阶级尊崇平等的理念,所以新贵一族收藏当代艺术作品就显得有些不合时宜(广为流传的詹代法则(Law of Jante)虽不算正式,但也认为公民不应该有超出其社会层次的行为。这一斯堪的纳维亚社会法则由阿克塞尔#12539;桑德莫斯(Aksel Sandemose)于1933年提出)。Furnesvik说,“如果你去纽约,最强的是金融行业。同样的道理,如果你想让别人觉得你受过良好教育,你必须得收藏艺术品。这是社会对你的期待,就像出席正式场合要戴领带一样。在挪威没有这些要求,这里的文化就是平等。” Perhaps it#39;s no surprise that Petter Snare, a rare Norwegian collector, worked in the art world for a time with Furnesvik. Snare acquired his first works in the #39;90s as a law student in Bergen and later helped launch Standard (Oslo) in 2005 before selling his share two years later and returning to his legal career. In his free time, he runs an art book publisher, Teknisk Industri. Each book he publishes is almost completely financed by the government, according to Snare. He also sits on the board of many public and private art institutions across the country, including the Bergen Kunsthall and the Bildende Kunstneres Hjelpefond, an artists#39; relief fund dating back to the #39;40s supported by a 5-percent fee levied on all visual artwork publicly sold in the country. 也许彼得#12539;斯奈尔(Petter Snare)这一挪威少有的收藏家曾同Furnesvik一同合作过一段时间并不奇怪。斯奈尔在上世纪90年代得到了他第一件藏品。彼时他还是卑尔根的一名法律学生。2005年,他帮助成立了Standard (Oslo),两年后,他卖出了自己的股份,重回法律行业。在闲暇时间,他经营一家名叫TekniskIndustri的艺术书籍出版社。他说,他出版的每本书几乎都是政府出资。他同时也是挪威各地公共或私人艺术机构的董事会成员,这些机构包括Bergen Kunsthall以及Bildende Kunstneres Hjelpefond;后者是一项成立于40年代的艺术家救助基金,国内所有公开销售的视觉艺术作品的百分之五收入会用于该基金。 #39;Contemporary art as a social marker, at least in Norway, is something new,#39; Snare says over a glass of beer in the chandeliered lobby of downtown#39;s Hotel Bristol. #39;Norwegians are mainly trying to be less flashy. It might be an urban myth, but there are all these stories about shipping people in Norway having huge amounts of money and driving themselves to the airport in a Nissan and being picked up by a Rolls-Royce at London Heathrow.#39; 斯奈尔在市中心装有华丽吊灯的布里斯托酒店(Hotel Bristol)大厅,一边喝着啤酒一边说道:“把当代艺术当作社会标志,至少在挪威,是一件很新鲜的事。挪威人一般不愿意张扬。可能这是个都市传奇,但是有些故事讲的就是挪威一些搞航运的人积累了大量的财富,开着尼桑轿车(Nissan)去机场,然后在伦敦西斯罗机场(Heathrow)被接机的人护送上劳斯莱斯(Rolls-Royce)。” If the narrative about somewhat provincial Norwegians going out into the world has, in the last two decades, found its way out of an awkward adolescence, the reverse migration is just beginning. The American gallerist Esperanza Rosales moved to Oslo from Brussels in the fall of 2011 to do something unheard of: launch a commercial gallery as an outsider. She first visited Oslo to attend an event hosted by OCA. During her stay, she met Stian Eide Kluge and Steffen H#229;ndlykken, two Norwegian artists launching a gallery of their own called 1857 in Gr#248;nland, an immigrant neighborhood near the train station. The space they chose was a battered log cabin, the erstwhile operating headquarters for the Bandidos Motorcycle Club. The cabin was full of trash, and snow fell through the crumbling roof. #39;Something about that kind of spirit,#39; say Rosales, #39;this particular initiative they have to take something that was falling apart and fix it up, really stuck in my mind.#39; 如果这个讲述淳 的挪威人走进大千世界的故事在过去二十年就已经成为了现实的话,那么新移民进入挪威则是新的潮流。埃斯佩兰萨#12539;罗萨莱斯(Esperanza Rosales)在2011年秋天从布鲁塞尔移居奥斯陆,并且做了一件闻所未闻的事:以外行人的身份开了一家商业艺廊。她与奥斯陆的初次邂逅是来参加OCA举办的活动。在她停留期间,她见到了两个开办自己艺廊的挪威艺术家。这家艺廊名叫1857,位于靠近火车站的移民聚集地。他们选用的空间是一个破旧的木屋,雪花会从摇摇欲坠的屋顶上 下来。罗萨莱斯说:“他们身上的那种精神,那种要把濒临溃败的事物拯救回来的动力,很叫我难忘。” #39;Norway, there are things I love about it, but it#39;s very severe,#39; she says. She#39;s y with examples of the baffling cost of running a business within the country#39;s economy. #39;I once went to the post office to buy an envelope and a five-pack costs 65 U.S. dollars. They have local postage on them aly, but still that#39;s a lot.#39; 她说:“挪威有我爱的地方,但是现在日子也不好过。”挪威经济已受创,做生意成本很高,她给了些例子:“一次我去邮局买信封,一套五个装的信封居然要花65美元(约400人民币)。信封上已贴有当地邮票,可是价格仍然太贵了。” In Oslo there#39;s an incredible will to make things happen despite the odds-a community survival instinct, part of the bully attitude it takes to survive so far north. After two months, Rosales was able to negotiate free rent on a warren of lower level rooms below the Gr#248;nland Menighetshus, a former congregational hall built in 1913. Her program so far has included work by Ekblad and another Norwegian artist Lars Laumann, as well as by young artists from more established art capitals like Berlin and London. #39;I realized there was room for another commercial gallery, or perhaps one that could have a very different profile than Standard,#39; she says. #39;A commercial gallery with the spirit of a project space.#39; According to her agreement, she#39;ll begin paying rent there when the gallery starts turning a profit. In the meantime she#39;s investigating the possibility of claiming more space in a nearby prison. 奥斯陆有种排除万难坚持到最后的精神――这既是一个族群的本能,一定程度上也是在如此靠北的地方生存下来必备的态度。两个月后,罗萨莱斯在一个稍低档些的房子谈判自己的免费房租。这个房屋原来是会议大厅,首建于1913年。她的项目目前包括了艾克布莱德和另一位挪威艺术家拉尔斯#12539;劳曼(Lars Laumann)的作品,以及来自比较成熟的艺术之都如柏林和伦敦的艺术家作品。她说:“我意识到还有空间经营另一个商业艺廊。或许是一个跟Standard大相径庭,并且将商业艺廊和项目空间的精神结合起来的艺廊。”根据协议,当艺廊开始盈利的时候,她就要开始交房租了。同时,她也正在调查是否旁边的监狱能够提供更多空间。 Rosales#39;s gallery, called VI, VII, takes its name from the British colloquialism #39;at sixes and sevens.#39; #39;It means that someone is at a point of confusion, maybe making a bad choice or they#39;re showing recklessness,#39; she says. #39;The history of this is a little unclear, but some people think it came out of dice-throwing games-when somebody would bet everything they had on the next throw of the dice, and sometimes lose. I liked that it could be as total stupidity or total courage.#39; 罗萨莱斯的艺廊叫作VI, VII。这两个名字来源于俗语“六神无主”和“七上八下”(译者注:原文为sixes and sevens,意为乱七八糟)。她说:“这些短语表达的是人处在混沌的状态,这样人可能会做一些不好的决定,或者做出轻率鲁莽的事。这些短语的词源我不是很清楚,但是一些人觉得可能起源于丢骰子的游戏。有人下了所有的筹码,寄希望于下一次投骰子,但是却输了。我喜欢它们是因为它们代表的就是彻底的愚蠢,或者彻底的勇气。” /201309/257002吉安市中心医院修眉手术多少钱A chef has created an off the scale chicken dish so spicy he claims it can cause ‘facial paralysis’.一名厨师发明了一种超级辣的鸡肉菜肴,他宣称这道菜会让食客辣到面瘫。Muhammad Karim, 34, has to wear a gas mask whenever he prepares his Atomic Kick Ass Drumsticks to stop the powerful vapours knocking him out.34岁的穆罕默德-卡里姆在做这道被他称为“原子踢屁屁鸡腿”的菜肴时,必须带上防毒面具才能不被蒸汽辣晕。His super-hot meal registers a whopping 12million on the Scoville heat measurement scale and is almost three times as a powerful as pepper spray used by police.他这道超级辣菜的史高维尔指标高达1200万,差不多是警用胡椒喷雾的3倍。 注:史高维尔指标是度量辣度的单位。检测方法是把辣椒汁水稀释到品尝不出辣味。1200万单位意味着要稀释1200万倍。‘We have made sure that our staff are trained in first aid so we can look after the customers before the paramedics arrive,’ a director and executive chef of Bindi restaurant in Grantham, Lincolnshire explained.这家名叫宾迪的饭店位于林肯郡的格兰瑟姆。饭店的董事兼行政主厨解释道:“我们确保职员们都经过急救训练。他们可以在急救人员到来之前照料顾客。”‘The body gets this massive rush which can paralyse their face for up to 30 minutes and give them body shakes. The last guy who tried it was sweating all over.’“这道菜肴会对身体造成巨大冲击。能够导致最多30分钟的面部瘫痪以及浑身颤抖。上次尝试这道菜的食客从头到尾汗流不止。”‘He was slapping his face to try and feel anything but it was paralysed. It is the adrenalin and the body trying to sort itself out.’“他抽打自己的脸颊想看看是否还有知觉,可是脸已经瘫痪了。这是因为肾上腺素的缘故,身体正在试图自我调整。”Only 20 people have so far accepted the challenge to eat 10 drumsticks in 15 minutes with a prize of £100 on offer for anyone successful.店家将奖励在15分钟内吃下10个鸡腿的顾客100英镑。目前只有20人接受了这一挑战。The meal contains two of the spiciest chillies in the world, including the Carolina Reaper which hits 1,569,300 on the Scoville heat measurement scale.这道菜里含有世界上最辣的两种辣椒,其中卡罗来娜死神辣椒的史高维尔指标高达1,569,300。 /201406/307094吉安市儿童医院激光去红血丝多少钱

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