【摘要】：正關(guān)于國(guó)展,乃至展廳文化,一直以來(lái)我持積極正面的評(píng)論。我認(rèn)為它是當(dāng)代藝術(shù)民主的集中體現(xiàn)。如果沒(méi)有這種自由投稿公平競(jìng)爭(zhēng)的評(píng)選機(jī)制,不可想象當(dāng)代書(shū)法會(huì)是什么樣子。從孔子"有教無(wú)類(lèi)"到兩漢知識(shí)下移,到孫中山"教育平等",這是中國(guó)文化中最早覺(jué)醒的民權(quán)民主意識(shí),國(guó)展的機(jī)制沿襲了這一文脈。就當(dāng)代藝術(shù)生態(tài)而言,展覽文化是當(dāng)代書(shū)法賴以生存與發(fā)展的
[Abstract]:I have always had positive comments on national exhibitions and even exhibition hall culture. I think it is a central embodiment of contemporary art democracy. Without such a free and fair competition, it is impossible to imagine what contemporary calligraphy would look like. From Confucius'"no class of education" to the movement of knowledge in Han Dynasty to Sun Zhongshan's "equality of education", this is the earliest awakening of civil rights and democracy in Chinese culture, and the mechanism of national exhibition follows this context. As far as contemporary art ecology is concerned, exhibition culture is the survival and development of contemporary calligraphy.
【分類(lèi)號(hào)】：J292.1

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