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日前,“改造历史:2000-2009中国的新艺术”大型项目即将于五月初开幕,其相关论坛与交流活动已提前预热,热闹非凡;关于艺术历史的重新书写、话语权力的分配、资本运作等等争议随之而生。就此项目,反对(或说拒绝)与拥护的声音几乎各占一半,明面暗面意见争夺激烈,不究其真正项目结构及轮廓本身,而就此次项目运作的强大的资本号召力与学术架构的出发点而言,争论问题的怪圈或起点,几如二十年前广州双年展现象极为相似。
Recently, the “Transformation History: 2000-2009 China’s Art Nouveau” large-scale project is about to be opened in early May. Its related forums and exchange activities have been preheated and crowded; the rewriting of artistic history, the distribution of discourse power, Capital operation and so controversial ensuing. In this project, opposition (or rejection) and supportive voices are almost halved. There is a clear debate about whether the real project structure and the outline itself are strong. However, the strong capital appeal and academic structure of the project operation The starting point for the issue of controversy or starting point, just as a few years ago, the phenomenon of the Guangzhou Biennale is very similar.