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第八届光州双年展体现了延斯·霍夫曼(JensHoffmann)在其所创办的杂志第二期的尾注中所提倡的展览策划的显著特性。霍夫曼强调了策展人争取其自身作为书写者的权力的重要性(《展览主义》杂志的核心价值),此次双年展的艺术总监马西米利亚诺·吉奥尼(Massimiliano Gioni)也确实这么做了,他从一系列大量的材料和资源中选取出那些非艺术图像、文化物品,以及那些我们狭义上称之为艺术的东西,甚或是过去的展览。吉奥尼为展览提供了一种紧随文本的经验。“万生相”(10000 LiveS也有译,“万人谱”)——
The Eighth Gwangju Biennale embodies the distinctive features of the exhibition planning promoted by Jens Hoffmann in the endnote of the second issue of his magazine. Hoffman underlined the importance of curators’ own authority as writers (the core value of “Exhibitionism” magazine), art director Massimiliano Gioni Indeed, he did so by picking out a great deal of material and resources out of non-art images, cultural objects, and what we narrowly call art, or even past exhibitions. Giovanni offers an exhibition-following experience. “All Life Phase ” (10000 LiveS also translated, “Mansions ”) -