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几个月前,策展人栾志超和我不约而同地敲定了“考察先行而主题其后”的工作方法,着手策划一个以高等院校的毕业作品为选择基底的展览。在考察了全国几个主要美术学院的毕业展览之后,我们将策展理念的核心聚焦在了艺术教育本体的表征与症候之上。比起为每年的毕业展季又增加一个院校荟萃展览,或是为年轻人提供更多甚至“过剩”的展览机会,关于艺术家培养方法和机制的讨论或许更为必要和紧迫。几年前巴黎国立高等美术学院举办了一场十年回顾展。这所著名艺术院校十年之间的所谓“教学成果”展览为何只展出了29
A few months ago, the curator Luan Zhichao and I, both of them, decided on the working principle of “prior work on the subject and later on” and started to plan an exhibition based on the graduation works of colleges and universities. After examining the graduation exhibitions of several major art colleges across the country, we have focused the core of the curatorial philosophy on the characterization and symptomatology of the art education ontology. It is perhaps more necessary and urgent to discuss the methods and mechanisms of artist training than to add another institution’s exhibition for the annual graduation season or to provide more or even “surplus” exhibition opportunities for young people. A few years ago Paris National Academy of Fine Arts held a ten-year retrospective. Why did the so-called “Teaching Achievement” exhibition of this prestigious art school showcase only for a decade?