还是不要相忘于江湖

实际上,试着追逐流行是一个非常痛苦的过程。丁斯特最近终于断断续续的把前些日子红火得不行得连续剧《甄嬛传》看完,也算是难得可以和朋友们找到一个接地气儿的话题。
只是角度不同,所以讨论的点也是往往被朋友们吐槽。而且所谓一场勾心斗角的宫廷戏,倒是也穿插了不少能够激起我我对于当代艺术的若干感慨,由此也就认为,所花的时间还是有些值得的。
我最关心的点莫过于,究竟甄嬛在她的宫廷生活中有没有找到自己的真爱。

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关于艺术台北

和其他的会场相比,“艺术台北”的场地并没有任何特别之处,位于台北地标101旁,是一个理论上所谓的好去处。展场的面积也并不大,和现今的主流艺术展会(例如伦敦和纽约的弗里茨艺术博览会,迪拜艺术展以及著名的巴塞尔艺术展等等)相比,它的面积无疑是小巫见大巫了。
自然,作为一个艺术展会,参展艺术机构以及艺术家的作品质量,在很大程度上才是重点。“艺术台北”作为亚洲地区历史较为长久的展会之一,具有其不可取代的地位。
虽然叫它“艺术台北”,不外乎是Art Taipei英文的直译,但其官方名称为“台北国际艺术博览会”,是为了强调台湾的地理优势以及其历史文化的多样性,以及其从诞生至今的“备受瞩目”的状态。

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死了都要爱——厉槟源在曼彻斯特中国当代艺术中心的表演观后

当代艺术很多时候并没有太多重点。尤其是当当代艺术必须被评论的时候。
相较于中国的传统艺术,当代艺术承担了很多理论上并不应该承担的责任与义务。在中国,传统艺术往往与所谓“古玩”或者“古董”挂钩,因此人们赋予它的价值往往不仅仅是艺术品价值本身,更多的是所谓的是所谓历史价值。然而当代艺术不同。从某种程度上来说,当代艺术还没有真正进入历史。因此人们就毫不留情面的对它大肆的批判。当然,当代艺术的历史,其实就是艺术批评的历史(实际上,艺术批评是一个比当代艺术早太多的存在),甚至大量的当代艺术形式都是由于艺术评论而产生的,大量的艺术家都是在批评与自我批评中进行创作的。
上面的开场白似乎很像是无关紧要的废话。但艺术家的创作与此的相关程度实际上远远超过了我们的想象。

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That Tea Tasting Party

It has almost been months since my visit to the Solomon Guggenheim. A friend and I queued 10 minutes under the cold winter sun in New York City. It was a pleasant wait really. We chitchatted a bit about why people have to form lines to get into museums and my rather ridiculous experience of sneaking into MoMA during the free night with another friend. And the visit was more than enjoyable: the works by Agnes Martin spiraling along the corridor, Maurizio Cattelan’s golden toilet that everyone was hoping to take a dump in, other permanent collection pieces, and of course, Tales of Our Time, a much anticipated group exhibition by artists from Taiwan, Hong Kong and Mainland China, or as described by Guggenheim itself: “Tales of Our Time is not a monolithic report on the state of contemporary art in China, nor does it encapsulate any artistic trends or phenomena. Instead, it highlights the unique aspects of each artist’s perspective.”

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Why it matters: in looking at specific postcolonial topics

The one pertinent and dominant symptom in the understanding of the globe as it is today, in a postcolonial discourse, is that most non-western cultures or sub-cultures are seeking to be recognized or legitimized by the west. It is often taken for granted that the non-western cultures are inferior to the western culture, or, at least, less developed and cultivated. The best example for this is that contemporary artists from regions or countries that are outside the "normally" western would quickly raise to fame after participating in a group exhibition or hosting a solo exhibition in an western recognized , i.e. Huang Yongping, after his participation in Magiciens de la Terre, which became the milestone in his artistic legitimation by the so-called global art market.

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