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在当代艺术的任何国际性大展中,都离不开装置、行为、影像作品的出场,仿佛三者就是一个展览的先锋性标志。在大陆官方或半官方的一般展览中,接受装置和影像参展已经不再具有任何问题,连续几年的“上海双年展”对它们的入选就是明证。由于行为艺术的偶发性,策展方往往担心会带来不可控制的场面而拒绝之。不过,行为艺术的社会效应,又迎合了大众媒体追求看点的传播原则。于是,社会
In any international exhibition of contemporary art, installations, acts and video works can not be separated from each other. It seems that the three are the pioneering signs of an exhibition. At official or semi-official general exhibitions in China, there is no longer any problem with receiving exhibitions and video exhibitions. This is evidenced by the selection of “Shanghai Biennale” for several years in a row. Due to the sporadic nature of performance art, curators are often afraid of rejecting uncontrollable scenes. However, the social effects of performance art also cater to the principle of mass media’s pursuit of excellence. So, society