In this issue

I received disparate reactions when I mentioned colours as a theme for this issue of Pipeline. Many of the artists I probed and tested stared past me disappointingly. Some told me straight out not to care about colours: “They are not important,” I kept hearing. It would appear that colour is the degenerate distant cousin of concept, archaic – colour had moment of its glory when painting as a medium did – and too shallow to talk about. And yet. In the very technical overview of colours A History of Color by Manlio Brusatin, from very scientific explanations of colour to Goethe’s theory of colour, we learn how its history is intricately intertwined with that of textiles; that until the mid-19th century, in Europe, wedding dresses used to be red; that palettes varied by religion: the discreet tones of protestant Rembrandt, the colourful ones of catholic Rubens; and about the chemical instability of green, which was made directly, and not as a mixture of yellow and blue, until the 17th century. The writings of Michel Pastoureau did much to flesh out and romanticise the subject. Dubbed the historian of colours by The New York Review of Books, he allocated individual volumes to Blue, Green, Black and so on. He points out, for instance, that blue was once considered a warm colour.

Pipeline Magazine Description:

Pipeline杂 志是供艺术家、艺术研究者、策展人和艺术爱好者头脑风暴的平台。我们集思广益、开诚布公，致力于严肃艺术但不限于精英份子。在某几期刊物中， 我们为艺术家 和试验型项目提供了一个游乐场，而在每一期我们都旨在将当代艺术中分门别类、跨越地域的艺术实践联系起来，其中包括众多美术馆、展览以及非营 利性艺术空 间。Pipeline由香港Double Pipe出版社主办，每年出版六期。作为一本独立艺术杂志，Pipeline内容面向国际题材同时提供当地美术馆指 南。