拆迁补偿费英文

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ou know. Not to be outdone, in SE1 Tate Modern has a wonderful installation by Juan Munoz. At the launch of this year's Turner prize show, a disgruntled painter suggested that the ice cream van that parks outside the Tate should have been shortlisted. This is a particularly stupid idea. Where would we get our ice creams from then? What we need is the answer to three simple questions. What is installation art? Why has it become so ubiquitous? And why is it so bloody irritating? First question first. What are installations? "Installations," answers the Thames and Hudson Dictionary of Art and Artists with misplaced self-confidence, "only exist as long as they are installed." Thanks for that. This presumably means that if the ice cream van man took the handbrake off his installation Van No1, it wouldn't be an installation any more. The dictionary continues more promisingly: installations are "multi-media, multi-dimensional and multi-form works which are created temporarily for a particular space or site either outdoors or indoors, in a museum or gallery." As a first stab at a definition, this isn't bad. It rules out paintings, sculptures, frescoes and other intuitively non-installational artworks. It also says that anything can be an installation so long as it has art status conferred on it (your flashing bulb is not art because it hasn't got the nod from the gallery, so don't bother writing a "funny" letter to the paper suggesting it is). The important question is not "what is art?" but "when is art?" The only problem is that this definition also leaves out some very good installations. Consider Richard Wilson's 20:50. It consists of a lake of sump oil that uncannily reflects the ceiling of the gallery. Spectators penetrate this lake by walking along an enclosed jetty whose waist-high walls hold the oil at bay. This 1987 work was originally set up in Matt's Gallery in east London, through whose windows one could see a bleak pos

拆迁补偿费是指拆建单位依照规定标准向被拆迁房屋的所有权人或使用人支付的各种补偿金。