艺术生产的知识系统——历史与理论之间

发布时间：2018-07-11 10:11

  本文选题：艺术 + 生产　； 参考：《美术观察》2013年04期

【摘要】：正2012年11月初,在中央美院美术馆举办的"博物馆与公共关系"国际论坛上,第13届卡塞尔文献展策展人卡洛琳·克里斯托夫·巴卡捷夫声言:"策展人时代实际已经终结了。"诚如此前有人宣告"艺术终结"、"批评终结"、"艺术史终结",乃至"历史终结"一样,其实都没有终结,只不过是内在结构和生成方式有了变化,因此与其说是策展人时代结束了,不如说是展览模式和策展人身份、角色发生了转向。以往的策展总是习惯以一个明确的主题(问题)框定展览结构,建立一条清晰的线索和逻辑。悖谬的是,很多展览的主题原本是为了反思、抵抗或消解既有的话语系统,但结果却形成了一个
[Abstract]:In early November 2012, at the International Forum on "museums and Public Relations" at the Central Academy of Fine Arts, Carolyn Christopher Vaca, curator of the 13th Kassel document Show, declared: "the era of curators has actually come to an end." Just as some people had declared "the end of art", "the end of criticism", "the end of art history", or even "the end of history", it was just that the internal structure and the way of generation had changed, so it was not so much the era of curators that ended. Rather, the exhibition model and curator identity, the role has changed. In the past, it is customary to frame the exhibition structure with a clear theme (question) and to establish a clear clue and logic. Paradoxically, many of the themes of the exhibition were originally intended to reflect, resist or dispel the existing discourse system, but the result was a
【分类号】：J110.9
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本文编号：2114776