1989-2000：策展推动下的中国当代艺术

发布时间：2018-03-06 05:12

  本文选题：策展　切入点：策展人　出处：《西安美术学院》2017年博士论文　论文类型：学位论文

【摘要】：对中国当代艺术策展及其发展脉络的研究是构建中国当代艺术史的一个重要组成部分。艺术展览体现了艺术的现代性方向,现代艺术史的研究在某种意义上是对现代展览历史的研究,艺术展览制度的确立标志着艺术向公共领域的自我公开。展览策划是伴随着现代展览制度应运而生的一项机制。策展及策展人的出现成为上世纪80年代末以来的中国当代艺术的一个重要现象,它标志着中国新生代批评家的集体崛起,也标志着八十年代建立在体制内部演化的新潮艺术运动转向了更为开放领域的实验艺术探索。它不仅在国内的现实语境中进行一种体制外话语空间的建构,成为平衡文化机制的另类文化,也在针对以西方为主的国际展览对话的话语权争取上,成为抗衡西方中心主义话语的本土化机制,由此呈现出一种带有双重性抵抗主义的文化建构。本文以1989-2000约10年间的策展案例为基础研究对象,结合中国现代至当代艺术史和艺术批评及艺术理论,借鉴新历史主义的研究方法对策展历史文本展开分析研究,意在通过对策展活动以及策展人在历史语境下的思想和活动描述及分析,揭示在策展过程中伴随艺术观念的改变的文化脉络及权力关系变化。全文共分六个章节,考察了策展的概念来源、中西独立策展人对比分析和策展语境的变化,重点研究了中国当代艺术批评活动向策展活动的转变成因和效果,分类讨论文化身份不同的策展人、独立策展人对展览机制影响。并从20世纪最后10年里选取了中国当代艺术10个有代表性的展览案例,从对这些个案的文本研究出发,对其策展的主体思路和当时语境的相互影响进行分析,考察展览呈现出的文化权力关系变化以及策展人和艺术家的思想博弈过程,从策展的角度解析了“中国现代艺术展”等重要展览对中国当代艺术发展走向的影响及启示,从而进一步证实了策展作为文化和思想活动对21世纪中国艺术发展的助推作用。
[Abstract]:The study of Chinese contemporary art curatorial exhibition and its development context is an important part of the construction of Chinese contemporary art history. The art exhibition embodies the modern direction of art. The study of the history of modern art is, in a sense, a study of the history of modern exhibitions. The establishment of art exhibition system marks the self-openness of art to the public sphere. Exhibition planning is a mechanism that comes into being with the modern exhibition system. The curator and curator appear since the end of -20s. An important phenomenon of Chinese contemporary art, It marks the collective rise of the new generation of Chinese critics, It also marks the transition of the new art movement, which was established in 80s and evolved within the system, to a more open field of experimental art exploration. It not only constructs a kind of discourse space outside the system, but also in the domestic realistic context. The alternative culture, which has become a balanced cultural mechanism, is also fighting for the right to speak to the western-oriented international exhibition and dialogue, and becoming the localization mechanism to counterbalance the western centrism discourse. Therefore, a kind of cultural construction with dual resistance is presented. This paper takes the case of exhibition from 1989 to 2000 as the basic research object, and combines the history of Chinese modern to contemporary art, art criticism and art theory. Drawing lessons from the New historicism's Research methods, the thesis aims to analyze and analyze the historical texts of the exhibition through the activities of the exhibition and the ideas and activities of the curators in the historical context. This paper reveals the cultural context and the change of power relations that accompany the change of artistic concept in the course of exhibition planning. The full text is divided into six chapters to examine the concept source of the exhibition, the comparative analysis of independent curators between China and the West and the changes of the exhibition context. It focuses on the causes and effects of the transformation from the Chinese contemporary art criticism activities to the curatorial activities, and classifies and discusses the curators with different cultural identities. Independent curators influence the exhibition mechanism. From the last 10 years of 20th century, we selected 10 representative exhibition cases of Chinese contemporary art, starting from the text study of these cases. Through the analysis of the main ideas of the curatorial exhibition and the mutual influence of the context at that time, the author investigates the cultural power relationship and the game process between the curator and the artist. From the angle of curatorial exhibition, this paper analyzes the influence and enlightenment of the important exhibitions such as "China Modern Art Exhibition" on the development trend of Chinese contemporary art, and further confirms that the curatorial exhibition, as a cultural and ideological activity, contributed to the development of Chinese art in 21th century.
【学位授予单位】：西安美术学院
【学位级别】：博士
【学位授予年份】：2017
【分类号】：J120.9
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本文编号：1573459