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也许首先要澄清一点,这里的当代艺术特指具备当代思想和形式的艺术,包括架上绘画、雕塑、装置以及行为艺术等,传统的艺术形式和做传统艺术的艺术家不在我们的讨论范畴之内。无论是行内还是行外人,也无论是国内还是国外,看到中国的当代艺术市场后,“繁荣”应该是留给人们的第一印象。就像今年,刚结束的北京国际当代艺术节一下把整个北京的所有艺术区和作品呈现在人们面前。798作为艺术节的主要区域,近年来的发展使其完成了中国艺术“农村包围城市”的范本,从而带动了更多艺术区向城市的“包抄”。在这种情况下,艺术节的生存现状也在发生微妙变化,它们也许还在为生存挣扎,但在每年热热闹闹的艺术节之后,总有一些人可以获得被关注的机会。当然,艺术节虽然热闹,却无法在短时间内改变国内的艺术市场,国外资本对中国当代艺术的把持,让中国的艺术品交易主力还停留在传统艺术上。同时,商品画的冲击也让纯艺术品市场显得不那么景气。一切都在路上,混乱总是难免的。表面的热闹也许会成为真正繁荣的一个信号。
Perhaps the first thing to clarify is that contemporary art here refers specifically to art with contemporary ideas and forms, including painting, sculpture, installation, and performance art. Traditional artists and traditional artists are not under our discussion . Whether it is inside or outsiders, both at home and abroad, after seeing the contemporary art market in China, “prosperity” should be the first impression left to people. Just like this year, the Beijing International Contemporary Arts Festival just concluded presents all the art districts and works in Beijing in front of people. As a major festival of the festival, its development in recent years has enabled it to complete the model of “Chinese encircled cities” in Chinese art, thus driving more art districts to “encase” the cities. Under such circumstances, the subtle changes in the festival’s living conditions may still be struggling with their survival. However, after the bustling arts festival every year, some people may get the chance to be watched. Of course, although the festival is bustling, it can not change the domestic art market in a short time. Foreign capitals control the Chinese contemporary art and make the main force of Chinese art trade still remain in the traditional art. At the same time, the impact of commodity paintings also makes pure art market is not so prosperous. Everything is on the road, chaos is always inevitable. The surface of the lively may be a signal of real prosperity.