文献展的展场构成模式及其效应研究

发布时间：2018-06-27 20:12

本文选题：文献展 + 卡塞尔　；参考：《吉林艺术学院》2015年硕士论文

【摘要】：艺术作为社会意识形态与上层建筑,必定受当下社会经济发展形态所制约。但在经济不断飞速发展、人民生活水平日趋上升的现代社会中,艺术展览这一社会文化活动已经成为人们日常文化生活的重要组成部分,对于社会大众而言艺术也再也不是那么遥不可及的高阁之物,它既可以满足人们的精神需求,同时也逐渐成为人们的精神消费品。人人都可以欣赏艺术,品味艺术,甚至创造艺术,以及拥有艺术。那么,艺术品最直接、最主要的展示方式,则是展览。人们为了提升艺术所带来的经济利益和精神快感,使得展览这一从西方的舶来方式在中国得以迅猛的发展,并一度蔚然风行。随着艺术展览的增多,展览的形式也在逐渐发生着变化。人们慢慢意识到,为什么我们需要这么多的展览?这些展览究竟为我们带来了什么?随着问题的深入,“文献展”这一展览形式自然而然的发生在了我们身边。展览作为先锋艺术的试验场,不断地为人类展示着艺术的发展历程。然而艺术展览只能给人们留下暂时的感官上感受,却不能真正意义上使人们获得展览的深层含义,更多时候使得展览的形状变得模糊不清。“文献展”这一概念的出现,恰巧解决了这一问题,人们通过文献展的形式逐渐深入的了解展览策划的全过程,以及展览所针对的问题,通过展览上展示的内容传达给人们湛蓝的中心意图和策展人的文化思考。如果说美术馆是驻留历史、文明和艺术印记的空间,那么文献展则讲述了历史、文明以及艺术发生发展的全过程。文献展的成功不完全是来自作品的本身,很重要的一部分是要依赖展览空间与艺术作品的结合才能得以完美呈现,只有最恰当地呈现出作品完整的内涵与客观本质,以及所涉及的文化内容的全部,才会使得展览成就其最终的价值。本文通过对历时100天,每五年展出一届的卡塞尔文献展和吉林艺术学院正在执行的大型文献展进行深入的案例分析,通过对文献展发生、发展全过程的透析,使人们了解文献展与当下层出不穷的展览的区别。并探究文献展的展场空间构成模式对其艺术作品、策展人、文献展本身以及观者带来非同凡响的视觉、听觉、知觉上的全方位的效应及影响。
[Abstract]:As a social ideology and superstructure, art is bound to be restricted by the present social and economic development. However, in the modern society with the rapid development of economy and the rising living standards of the people, the art exhibition, as a social cultural activity, has become an important part of people's daily cultural life. For the public, art is no longer an inaccessible thing, it can not only meet the spiritual needs of people, but also gradually become people's spiritual consumer goods. Everyone can enjoy art, taste art, even create art, and own art. Well, the most direct, the most important way to display art, is the exhibition. In order to enhance the economic benefits and spiritual pleasure brought by art, the exhibition, an imported form from the West, has developed rapidly in China, and has been popular for a time. With the increase of art exhibition, the form of exhibition is gradually changing. People are slowly realizing, why do we need so many exhibitions? What exactly have these exhibitions brought us? With the deepening of the problem, the exhibition form of "document exhibition" naturally occurs around us. As a pioneer art testing ground, the exhibition continuously shows the development of art for mankind. However, the art exhibition can only leave people with temporary sensory feelings, but can not really make people get the deep meaning of the exhibition, and more often make the shape of the exhibition blurred. With the emergence of the concept of "document exhibition", the problem has been solved. Through the form of literature exhibition, people gradually and deeply understand the whole process of exhibition planning and the problems that the exhibition aims at. It conveys the central intention of blue and the cultural thinking of curators through the contents of the exhibition. If art galleries are the space where history, civilization and art are imprinted, the literature exhibition tells the whole process of history, civilization and the development of art. The success of the literature exhibition is not entirely from the work itself. The important part is to rely on the combination of the exhibition space and the works of art to be perfectly presented. Only when the complete connotation and objective nature of the work is most appropriately presented, And all the cultural content involved will make the exhibition achieve its ultimate value. In this paper, through the in-depth case analysis of the Kassel document exhibition, which is on display every five years, and the large literature exhibition being carried out by the Jilin Academy of Art, which lasts for 100 days, and through the dialysis of the whole process of the development of the literature exhibition, Make people understand the difference between the literature exhibition and the emerging exhibition. And explore the exhibition space model of literature exhibition to its works of art, curators, literature exhibition itself and the viewer to bring extraordinary visual, auditory, perception of the omnidirectional effect and influence.
【学位授予单位】：吉林艺术学院
【学位级别】：硕士
【学位授予年份】：2015
【分类号】：J124

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