本文選題：策展人 + 美術(shù)館�。� 參考：《美術(shù)》2013年03期

【摘要】：正近來,有關(guān)"策展人時代終結(jié)"的討論在學(xué)界備受關(guān)注,討論特別對策展人身份以及"策展人"這一概念提出了質(zhì)疑。進(jìn)入21世紀(jì)以來,當(dāng)代藝術(shù)發(fā)展呈現(xiàn)出多維、多樣的面貌,也在全球藝術(shù)文化的交匯、碰撞中形成各種眩目之像,由此引發(fā)了人們對全球化趨勢的不斷反思。與此同時,生動鮮活的創(chuàng)作形態(tài)與豐富現(xiàn)復(fù)雜的實景觀多維交互,使得展覽策劃實踐成為更加復(fù)雜的過程。一方面,人們更多地希
[Abstract]:Recently, much attention has been paid to the discussion of "the end of the curator era", which has called into question the identity of the curator and the concept of "curator". Since entering the 21st century, the development of contemporary art has taken on multidimensional and diverse features, and it has also formed various dazzling images in the intersection and collision of global art and culture, which has caused people to constantly reflect on the trend of globalization. At the same time, vivid and vivid creative form and rich complex landscape multi-dimensional interaction, make the exhibition planning practice become a more complex process. On the one hand, people are more hopeful
【作者單位】： 中國美術(shù)館研究與策劃部;
【分類號】：J209.2
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本文編號：1826483