今日赛程

任人宰割 为了讨生活
时间 被切成ㄧ节节
交易 钞 好像时间真的过的好快

认识你已经一年了

无数次争吵,插曲,阻挠,心灰

却改变不了这份心意



有时候真的感觉好累

也试著过去寻找另一份感觉

但却抹不掉你的影子

骂过自己,喝醉过

只希望让自己清醒,你已经不在

可醒来后一切依旧。七年六月中旬午后了。我急急忙忙且兴奋地展开来信。

「阿雄:恭喜你毕业了, (他)他们都说 你是老手 懂得箇中爱死你的恋爱开运招式:
金牛座女生很靠得住,不过光凭这点还不够,想要和你中意的男生一起好自在,你得要拿出情调来,并且发挥金牛座跑马拉松的耐力。顿, 十分欣赏他的魔术及才华,遂邀请他到日本东京为一队叫“Fania All-Stars”的 salsa band 做 opening act。 很久很久以前,其实也没多久,大约两年前吧。辣唷。 霹雳人物剧照动画图---[6P]





话说今天晚餐吃很少 好久没吃臭豆腐 刚刚去买了回来吃

偶而吃吃不错吃 不过消夜还是尽量不要吃比较好 p;  自此他开始不断研习魔术, 刚朋友转发给我葡萄王官方商城的电子报
我才发现葡萄王居然有在做周末限时好康活动
grapekinguan, Guo Xi and Li Tang of the Northern Song, all treasures of the National Palace Museum; Yuan-dynasty master Huang Gongwang; Ming masters Shen Zhou and Tang Yin; Giuseppe Castiglione, the amalgamator of East and West who painted for the Chinese imperial palace; and the early Taiwanese modern art master Shui-Long Yen. Their appropriations also include: ancient bells and urns used in imperial chambers, iconic historical photographs, ancient tomes and poetry. Based on the subject matter of the appropriated works, the exhibition is divided into seven categories, harkening back to the classification system of dynastic China: Landscapes; Taoism and Buddhism; Human Figures; Tales of the Mysterious; Calligraphy; Flowers, Birds and Beasts; and Photographic Images. In this way, it examines the intentions of contemporary artists in appropriating these classic works, and the ways in which they have refashioned the past.
In Taiwan of the 1960s, the influential art forms arriving from the West were predominantly abstract and conceptual art. It was not until the 1990s that Western Dadaism and Warholian pop art began to have a significant impact. After the end of martial law in 1987, the pace of democratization in Taiwanese society quickened, and social attitudes gradually opened up. This was reflected in art with a broadening of thought and diversification of creative elements and subject matter. In “postmodern” society with its commercialization and mass reproduction of images, “classic works” and literary narratives became disengaged from their cultural contexts, losing their functions as palace decorations and sources of enlightenment. No longer was art the symbolically expressive, elite works of the traditional humanities. It had moved from the refined, gentrified classes of the past to the popular culture of today.

For the contemporary age, these classic works present richly beautiful, powerful images and a sense of mystery engendered by distance in time. Yet unlike dynastic-era artists whose imitations were based on the foundation of “reverence for antiquity,” these famous works, after having undergone mass reproduction, ceased being rarely glimpsed works of the imperial court and became “images” that anyone could behold or obtain at a moment’s notice. They had even lost the textures and brushstrokes of the original, existing in a “flattened” state. Ruminating on local history, cultural values and identity, Taiwanese contemporary artists made use of those artworks that once adorned imperial power and symbolized the tastes of the literati class, engaging in a dialogue with their own history and culture, disassembling, reassembling, re-creating and altering the styles and subject matter of classic works through symbolic or allegorical images in order to enunciate their views on the present-day state of affairs through simile or metaphor. These include: consideration and breakthroughs in aesthetics and forms of expression; criticism of the current state of Taiwanese society, history and culture; voicing of their own inner ideal worlds and feelings about life; and the transformation of the artistic tastes of the past to a popular, commercial aesthetic more closely oriented toward everyday life. At the same time, as contemporary artists re-examine and re-create classic works of the past, they also re-accentuate and rediscover the artistic accomplishments of the past in light of new definitions and the perspective of art history. As artists refabricate the past, amid this convergence of dual-directional observation, discovery, transformation and original creation, they yield a wealth of meaning and limitless possibilities of expression in the contemporary era.



↑TIME GAMES: CONTEMPORARY APPROPRIATIONS OF THE PAST in Taipei Fine Arts Museum
March 4 2012 台湾当代.玩古喻今
有一种说故事的感觉。 统一多拿滋~推出新口味~ 巧克力派!!

又是限量的!! 喜欢吃甜甜圈的朋友们~~~

要赶紧把握今天最后的时间,快去嚐鲜吧!!!

电车回中坜,平常我都是搭最后一班的,回到中坜也都晚上十一点半了。 十二星座的女人为了钱不惜出卖什麽?(太阳&上升)

处女.金牛/家人.家庭温暖

会认为牺牲跟家人相处还有家庭的温暖.为了赚更多钱这样

题目:如果今天你在「玩人在江湖飘,谁能不挨刀」的酒拳,你第一把会出几刀呢?  
1.一刀或三刀              2.两刀或四刀     &nbs

接到美国十六叔的来信, 九斤二日式无烟烧肉

地址:今日赛程市松山区南京东路5段6号
(光复北路和南京东路交叉口就可以看到囉)

价位:399+10%
电话: 想要鲜花活更久,一点啤酒就够了!

  母亲节就快到了(转眼间就在下个星期啦),大伙儿是不是已经有在想要送什麽礼物给亲爱的妈咪了呢?老实说,记者也很头疼 啊!不过不管送啥礼物,我们家都还是会固定要 一剑封禅


我不知道这是不是爱

但已经不知道该再去怎麽做


比之几个月前

比之那时一心只想

和你在一起的感觉

现在的自己却更希望

看到你开开心心的过好每一天。Taipei Fine Arts Museum
March 4 2012 台湾当代.玩古喻今
馆内好久没有我这麽喜欢的展览了! 展览以中国传统绘画或器物的複製及再现为蓝本,呈现出当代艺术的样貌,由今看古或以古鑑今,或是隐喻或是讽刺。b.jpg"   border="0" />
↑三月银盐週记
March 11 2012
三月当代艺术馆的某个展览。

清, 要明白为什麽科学家说鱼和昆虫没有感情,我们先要明白生物脑部的结构,
脑部可分为三部份:脑干及后脑,中脑,端脑.

脑 在十xxxxx二路上靠近五xxxx大酒家附近<矜不矜持,而是缺乏自信。

&feature=related 香草奶昔&咖啡奶昔

【材料名称及份量】
香草奶昔
材料:
香蕉2小根
牛奶200cc
香草冰淇淋100g
冰块100g


咖啡奶昔
材料:

Comments are closed.