和而不同:“生声不息”与“画屏”的当代艺术展览策略探究  

Harmony in Diversity:Research on Contemporary Art Exhibition Strategies of“Sonsara”and“The Painted Screen”

作　　者：侯宇轩 Hou Yuxuan

机构地区：[1]不详

出　　处：《当代美术家》2020年第4期58-61,共4页Contemporary Artists

摘　　要：数十年来激增的专项美术馆、艺术空间为当代艺术在中国的发展博得了有效的展示空间,跨国际的展览流通机制亦为艺术界获得了全球性艺术资源。然而数量仅是当代艺术繁荣的表象,此外,如何将当代艺术有效地引入公众视野、怎样在展览质量与公众接受有效度之间保持平衡等问题仍值得深思。有鉴于此,本文将以“生声不息”和“画屏”展为例,探析展览扮演的双向传播角色同时,分析两种有效的当代艺术展览策略。The proliferation of special art gallery Spaces in recent decades has provided an effective exhibition space for the development of contemporary art in China.At the same time,the international exhibition circulation mechanism has also obtained the global art resources for the Chinese art world.However,the quantity is only the appearance of the prosperity of contemporary art.In addition,how to effectively introduce contemporary art into the public eye and how to maintain a balance between the quality of exhibition and the effectiveness of public acceptance is still worth pondering.Therefore,this paper will take the“Sonsara”and the“Painted Screen”exhibitions as examples to analyze the two-way communication role of the exhibition and analyze two kinds of effective contemporary art exhibition strategies.

关 键 词：当代艺术 生声不息 画屏 极简 主义 剧场化 

分 类 号：J114[艺术—艺术理论]