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一、理论的混沌还是市场的混乱? 1992年11月18日至22日,来自北美洲、欧洲、南美洲及亚洲的75位世界级艺术经纪人于香港举办了亚洲国际艺术博览会(Art Asia International),展出了4千余件当代大师们的艺术作品。博览会由美国国际美术展览公司(International Fine Arts Exposi-tions)筹办,来自亚洲的地区主要是台湾和香港。此事实提醒我们:中国大陆美术市场根本就没有和国际艺术市场轨道相接的能力和内容。 中国的批评家呢?1992年10月的广州“90年代艺术双年展”和“中国当代文献展”成为中国美术界的焦点,这是自1989年中国现代艺术大展以来的大举动,市场、批评、管理件件不缺。但是,站在“庐山”之外
First, the theory of chaos or market confusion? November 18, 1992 to 22, from North America, Europe, South America and Asia, 75 world-class arts brokers in Hong Kong held Asia International Art Fair (Art Asia International ), Exhibited more than 4,000 works of contemporary masters. Organized by the International Fine Arts Exposi-tions, the fair is dominated by regions in Asia, mainly Taiwan and Hong Kong. This fact reminds us that the Chinese art market simply lacks the ability and content to connect with the international art market. Chinese Critics? In October 1992, Guangzhou’s “90s Art Biennale” and “Contemporary Chinese Documentary Exhibition” became the focal point of Chinese art circles. This is a major move since the 1989 China Modern Art Exhibition. The market , Criticism, management of pieces is not missing. However, standing outside “Lushan”