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2007年前后,艺术博览会成为一种新的资本运作方式在世界各地蔓延开来。是年9月,徐震在迈阿密博览会量身创作了《香格纳超市》。他在博览会现场开了一个中国超市,他抽掉了所售全部货品内部的货物,只剩包装陈列在货架上以供销售。这无疑是艺术博览会的一个真实缩影。就像沃霍尔的布里洛牌肥皂盒和坎贝尔牌汤罐头铁盒一样,包装和设计是为了销售,无关产品/作品本身,从而形象地揭示了艺术的商业系统。这样一种“元艺术”(关于艺术的艺术)的解构方式无疑是徐震在作品中去掉货物而只是留下包装的最佳诠释。这是一件非常重要的作品。它意味着此时的徐震已经开始对艺术的运作系统有所自觉和意识。当然,在比翼艺术中心期间的主持与策划工作,实际上已经为他的系统性思考积累了很多经验。从1998至2009年,期间他所有的艺术实践都是针对一种运作机制,都是在试图破坏和颠覆既有的历史化经验秩
Around 2007, art fairs became a new way of capital operation that spread around the world. In September of the same year, Xu Zhen created the “ShanghART Supermarket” at the Miami Expo. He opened a Chinese supermarket on the site of the fair, and he took out the entire contents of the sale of the goods, leaving only the packaging on the shelves for sale. This is undoubtedly a true epitome of art fairs. Like Warhol’s Brillo Bar Soaps and Campbell Soup cans, the packaging and design are for sale, unrelated to the product / the work itself, thus vividly revealing the art of commercial systems. Such a “meta-art” (on the art of art) deconstruction is undoubtedly Xu Zhen in the works to remove the goods and just leave the best interpretation of the packaging. This is a very important piece of work. It means that at this time Xu Zhen has begun to consciously and consciously understand the system of artistic operation. Of course, hosting and planning work during the BizArt has in fact accumulated a wealth of experience for his systematic thinking. From 1998 to 2009, all of his artistic practices were directed at a mechanism of operation that were all aimed at undermining and overthrowing the existing historical experience