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九月初的上海艺术周,遇到了不少远道而来的西方资深艺术记者,股灾对中国艺术市场带来的影响俨然是一个引人注目的新闻话题,包括中外画廊家们在预展开幕前的不安和忐忑,而三个艺博会包括上海西岸设计和艺术博览会、上海艺术影像展、艺术都市主题盛会的成交结果则出乎意料的乐观,这与股市的多米诺骨牌效应存在的时差有关?还是国内中产阶层艺术消费的真正兴起?目前下定义仍为时过早。早在1993年上海的淮海中路,一群艺术家自我组织名为“超市展”中,艺术家刘群为三头活猪穿戴金银
The Shanghai Art Week in early September saw quite a few experienced Western art journalists from afar. The impact of the stock market disaster on the Chinese art market was a striking news issue, including the unease of Chinese and foreign gallery owners before the opening of the pre-show. And 忐 忑, while the three art fair, including the Shanghai West Bank Design and Art Fair, Shanghai Art Photo Exhibition, art city theme event unexpectedly optimistic about the outcome of the transaction, which is dominate the stock market dominated by the time difference? Or domestic The Real Rise of Middle Class Art Consumption? It is still too early to define. As early as 1993, Huaihai Middle Road in Shanghai, a group of artists self-organized named “supermarket show ”, the artist Liu Qun for three live pigs wear gold and silver