摘要
随着观念艺术的愈演愈烈 ,架上艺术的危机也愈来愈明显。以“架上、样板”为主题 ,引出“架上艺术”这样一个话题是适时的。就研讨会的两个选题而论 ,其一“世界当代语境的中国架上艺术”本身有欠妥当 ,或为“中国当代语境中的架上艺术”更佳 ;其二“多元艺术生态中的样板与标准”中之“样板”二字实难为艺术界接受。中国当代艺术发展有赖于一种有效机制的建立 ,这种机制应当包括 :一、以艺术基金为标志的稳定而可靠的资金来源 ;二、聘用独立策展人制度 ;三、美术馆硬件及专业化的展览运作机构。将成都双年展的长远目标定在“架上艺术” ,这种学术定位显然是一种失误。如改为“本土艺术” 。
As Conceptual Art becomes increasingly popular, the crisis of Jiashang Art (easel art) becomes more and more obvious. The timely topic 'Easel Art' resulted from the subject of the exhibition, 'Model, Jiashang(Easel)'. As for the two topics of the seminar, I think firstly, 'Chinese easel art in the world contemporary circumstances', is not proper. Probably 'the easel art in Chinese contemporary circumstances' is better. Secondly, the word 'model' in 'the model and criteria in the multi ecology of art' is difficult to be accepted by the art circles. The development of Chinese contemporary art depends on the setting up of an effective system. It involves three aspects: first, the financing that is a stable art fund; second, a system in which the independent hatcher is hired; thirdly, specialized operating system of the exhibition and the equipment of the art gallery. The definition of 'easel art' is a misplay, which has been settled on as a long target of the Chengdu Biennale. It's better to be replaced by the 'local art'.
出处
《贵州大学学报（艺术版）》
2002年第1期8-10,共3页
Journal of Guizhou University Art Edition
关键词
架上
样板
展览机制
学术定位
本土艺术
on easel
model
exhibition system
academic definition
local art
