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一在2006年12月进行的当代艺术活动中,值得关注的有由贾方舟牵头组织的“2006·中国当代艺术文献展”及相应的研讨会和拍卖会。“文献展”意义重大,“以学术引领市场”的策展愿望也值得大赞特赞,只是在研讨会上诸位批评家的发言,暴露出当前批评界存在的许多问题。研讨会讨论的主题是:“中国当代艺术市场需要什么样的学术支持?”实际上这个问题反过来谈,可能会更切实际:“中国当代艺术批评需要什么样的市场支持?”为什么要讨论艺术市场?原因很简单,近两年来——尤其是2006年,中国当代艺术品市场形势良好,拍卖纪录屡创新高,与批评家身份最为相关的策展人,已经从中先切了一块蛋糕,批评家却未能捞到任何好处,自然不肯作壁上观,纷纷再次下海,而批评的浮躁恰恰在此时被检验出来。
One of the most important contemporary art events to be held in December 2006 is the “2006 · Contemporary Chinese Documentary Exhibition” led by Jia Fangzhou and the corresponding seminars and auctions. The “Documentary Exhibition” is of great significance. The curatorial desire of “leading the market with academic studies” is also worthy of praises. It is only the speeches made by critics at the seminar, exposing many problems existing in the critics. The theme of the symposium was: “What kind of academic support is needed in the Chinese contemporary art market?” In fact, this question may be more realistic: “What kind of market support does China’s contemporary art criticism require?” Why discuss it? The Art Market? The reason is very simple. In the past two years - especially in 2006, the Chinese contemporary art market was in good condition with record auction records reaching record highs. The most relevant curators of critic status have already cut a piece of cake, However, critics failed to obtain any benefits, naturally refusing to make a difference in their attitudes and again went to sea one after another, and the impetus of criticism was precisely checked out at this time.