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双年展在中国是新兴的事物。它的出现有助于艺术与社会公众的交流,有助于艺术内部问题的清理。对于长期依靠海外资金和市场支持的中国当代艺术而言,这种意义将格外明显。中国已经有了上海双年展,2001年有了成都双年展,2002年还将出现广州三年展。所有的这些都是对“外向型”的、单调的中国当代艺术格局的有益补充,而且必将刺激艺术创作和思考的长足发展。正因为双年展是一个新兴的事物,它需要我们的细心培育。因此,艺术界的策划人、批评家以及各个方面的同行理应义不容辞地携手合作,以双年展和各种大大小小的独立展览为契机,共同创造一个健康、多元、具有可能性的“艺术生态”。这既是我们的义务,也是我们从事这个职业的责任心的体现。
Biennale is a new thing in China. Its emergence helps the communication between the arts and the public, and helps to clean up the internal problems of art. For the Chinese contemporary art, which has long relied on overseas funds and market support, this significance will be especially evident. China already has a Shanghai Biennale, a Chengdu Biennale in 2001, and a Guangzhou Triennial in 2002. All of these are beneficial complements to the “extroverted” and monotonous contemporary Chinese art scene, and will surely stimulate the rapid development of artistic creation and thinking. Precisely because Biennale is a new thing, it needs our careful cultivation. Therefore, art planners, critics and colleagues in all fields should work together in unison to take the opportunity of the Biennale and various large and small independent exhibitions to jointly create a healthy, diverse and viable “art Ecology. ” This is both our obligation and the embodiment of our sense of responsibility in this profession.