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当台北双年展宣布请来了尼古拉斯·伯瑞奥德,上海双年展把策划权交给安塞姆·弗兰克,2014年亚太地区的双年展序幕拉开之前,观众除了感受到强大的理论话语回响于这两个国际大展,还有两个地区所展现出的文化国际化的企图心。而在太平洋沿岸的远东,横滨三年展又一次大胆地推出了本土艺术家森村泰昌(第二届横滨双年展曾经邀请过矶崎新作为艺术总监,但因其计划过于庞大而被换掉)作为本届策展人。不同于大多数双年展/三年展关注某个核心的学术命题,“华氏451度的艺术:世界中心有忘却之海”是一个充满残酷诗意的主题,主题前半部分借
When the Taipei Biennale announced the arrival of Nicholas Buruiad, the Shanghai Biennale turned over the right of planning to Anselm Frank. Before the kick-off of the Biennale in the Asia-Pacific region in 2014, the audience not only felt strong Theoretical discourse echoed these two international exhibitions, as well as the ambition of cultural internationalization demonstrated by the two regions. In the far east of the Pacific Ocean, Yokohama Triennial once again boldly launched the local artist Takamori Morimura (the second Yokohama Biennale had invited Arata Isozaki as art director, but because of its plan is too large and was replaced) As the curator. Unlike most Biennale / Triennial exhibitions on a core academic topic, “451 Fahrenheit Art: The Sea of Forgotten Sea in the Center of the World” is a cruel, poetic theme. The first half of the theme is borrowed