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《东方艺术·大家》从2014年4月刊开始整改出一个新的栏目“纸上展览”。应该说,“纸上展览”的概念并不新颖,我们已经看到不少的杂志做过类似的栏目,无非就是编排一些作品图像,它实际上只能算实现或未实现的展览图册,并不能提供给我们展场的经验。立体的展览现场与平面的读本似乎本就是差异很大的事物,但有意思的是,现在当代艺术的展览不断地将谈话、文本带入进来。谈话、文本如何转换为可供观看的展览?我们往往可以看到,谈话中某些句段被书写在展墙上,谈话的纪实录像被陈列出来,行进的交流最终成为僵化的美术馆日常展示,却又因为其片段化和冗长性而不能被观者所有效体会。而“纸上展览”却可以很好地化解这一问题,因为
“Oriental Art · Everyone” started a new section entitled “Exhibition on Paper” from April 2014 issue. It should be said that the concept of “exhibition on paper” is not new. We have already seen quite a few magazines do similar columns, which is to arrange some works images. In fact, it can only be regarded as an actual or unrealized exhibition map Book, and can not provide us with the exhibition experience. The three-dimensional exhibition site and the plain reading seem to have been quite different things, but the interesting thing is that exhibitions of contemporary art are constantly bringing conversations and texts in. How can conversations and texts be converted into exhibitions for viewing? Often we can see that some of the passages in the conversation were written on the wall of the exhibition. Documentary videos of the conversation were displayed, and the exchange of ideas finally became a daily display of rigid art galleries , But because of its fragmentation and lengthiness can not be fully realized by the viewer. And “paper exhibition ” can be very good to solve this problem, because