中国当代艺术的另类策展实践--以“野生1997惊蛰始”为例  

Alternative Curatorial Experiments of Chinese Contemporary Art--Taking“Wildlife Starting from 1997 Jingzhe”as an Example

作　　者：王子云 Wang Ziyun

机构地区：[1]清华大学美术学院

出　　处：《当代美术家》2022年第4期36-43,共8页Contemporary Artists

基　　金：比利安娜·思瑞克(Biljana Ciric)在上海外滩美术馆发起的展览史研究项目“亚洲策展实践”的经费支持

摘　　要：本文是对“野生1997惊蛰始(Wildlife Starting from 1997 Jingzhe)”这一20世纪90年代中国实验艺术[1]的个案展开的研究。文章首先对展览的历史背景和媒介变革的现实状况、活动组织者,以及促成展览的诸多因素和机缘进行介绍。其次分析项目的策划理念与实施方式,并阐释作品的线索和内容。然后论述这一策展实践的展示、艺术家的自我组织和跨地域活动所延展出来的相关话题。虽然该案例并没有呈现于实体的展览空间,只是在纸上发生,但它所呈现出来的创作状态、思考和态度,对当下日渐缺乏活力的艺术界有着值得参考的野生力量。This article is a study of“Wildlife Starting from 1997 Jingzhe”,a case study of Chinese experimental art in the 1990s.It begins with an introduction to the historical background of the exhibition and the realities of media change,the organisers of the event,and the many factors and opportunities that led to the exhibition.It then analyses the curatorial concept and implementation of the project,and explains the clues and content of the work.This is followed by a discussion of the exhibition of this curatorial practice,the self-organisation of the artists and the related topics that emerge from the trans-regional activities.Although the case is not presented in a physical exhibition space,but only takes place on paper,it presents a state of creation,thinking and attitude that is worthy of reference to the increasingly lacklustre art world of today.

关 键 词：当代艺术 自我组织 策展 展览史 

分 类 号：J05[艺术—艺术理论]