本文選題：策展　切入點：策展人　出處：《西安美術(shù)學(xué)院》2017年博士論文　論文類型：學(xué)位論文

【摘要】：對中國當代藝術(shù)策展及其發(fā)展脈絡(luò)的研究是構(gòu)建中國當代藝術(shù)史的一個重要組成部分。藝術(shù)展覽體現(xiàn)了藝術(shù)的現(xiàn)代性方向,現(xiàn)代藝術(shù)史的研究在某種意義上是對現(xiàn)代展覽歷史的研究,藝術(shù)展覽制度的確立標志著藝術(shù)向公共領(lǐng)域的自我公開。展覽策劃是伴隨著現(xiàn)代展覽制度應(yīng)運而生的一項機制。策展及策展人的出現(xiàn)成為上世紀80年代末以來的中國當代藝術(shù)的一個重要現(xiàn)象,它標志著中國新生代批評家的集體崛起,也標志著八十年代建立在體制內(nèi)部演化的新潮藝術(shù)運動轉(zhuǎn)向了更為開放領(lǐng)域的實驗藝術(shù)探索。它不僅在國內(nèi)的現(xiàn)實語境中進行一種體制外話語空間的建構(gòu),成為平衡文化機制的另類文化,也在針對以西方為主的國際展覽對話的話語權(quán)爭取上,成為抗衡西方中心主義話語的本土化機制,由此呈現(xiàn)出一種帶有雙重性抵抗主義的文化建構(gòu)。本文以1989-2000約10年間的策展案例為基礎(chǔ)研究對象,結(jié)合中國現(xiàn)代至當代藝術(shù)史和藝術(shù)批評及藝術(shù)理論,借鑒新歷史主義的研究方法對策展歷史文本展開分析研究,意在通過對策展活動以及策展人在歷史語境下的思想和活動描述及分析,揭示在策展過程中伴隨藝術(shù)觀念的改變的文化脈絡(luò)及權(quán)力關(guān)系變化。全文共分六個章節(jié),考察了策展的概念來源、中西獨立策展人對比分析和策展語境的變化,重點研究了中國當代藝術(shù)批評活動向策展活動的轉(zhuǎn)變成因和效果,分類討論文化身份不同的策展人、獨立策展人對展覽機制影響。并從20世紀最后10年里選取了中國當代藝術(shù)10個有代表性的展覽案例,從對這些個案的文本研究出發(fā),對其策展的主體思路和當時語境的相互影響進行分析,考察展覽呈現(xiàn)出的文化權(quán)力關(guān)系變化以及策展人和藝術(shù)家的思想博弈過程,從策展的角度解析了“中國現(xiàn)代藝術(shù)展”等重要展覽對中國當代藝術(shù)發(fā)展走向的影響及啟示,從而進一步證實了策展作為文化和思想活動對21世紀中國藝術(shù)發(fā)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.
【學(xué)位授予單位】：西安美術(shù)學(xué)院
【學(xué)位級別】：博士
【學(xué)位授予年份】：2017
【分類號】：J120.9
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本文編號：1573459