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从1955年第一届卡塞尔文献展的震撼,到今天在艺术世界的广泛关注下的第13届的呈现,每隔5年,德国西北部的卡塞尔小城都会成为最被仰视和谈论的视觉艺术展场,越来越大的项目投入,使得卡塞尔文献展的规模如滚雪球般的越滚越大,而卡塞尔文献展直至今日延续的还是典型的策展人主导的机制,但在一个大的主题下,每一个艺术家的作品呈现又如同一个个展般具体,我们该如何看待没有主题的卡塞尔所要探讨的价值?卡塞尔文献展是西方文化艺术价值观和水平的一个重要体现,那么中国艺术家的作品在西方重要学术展中处于什么样的地位?中国艺术家颜磊在dOCUMENTA 13呈现的“有限艺术项目”获得了广泛关注,除了与总策展人卡洛琳的沟通,颜磊整个项目过程中与独立策展人李振华保持着密切沟通,李振华参与了展览同期画册《做我喜欢的》的主编工作,作为中国和欧洲往来频繁的独立策展人,李振华对于卡塞尔文献展和欧洲的艺术体制有着长期的观察和思考,李振华对卡塞尔文献展的解读,谈及了本届文献展的成就与梦想,以及局限和壁垒。
From the shock of the first Kassel documentary exhibition in 1955 to the 13th present under the widespread attention of the art world today, every five years Kassel town in northwestern Germany is the most viewed and talked about Of the visual arts exhibition, more and more investment in the project, making the size of the Kassel literature exhibition as snowballing more and more large, and Kassel literature exhibition continues until today is a typical curator-led mechanism , But under a major theme, each artist’s work is presented as an individual solo exhibition, and what should we think about the value that Kassel, the subject of which is not the subject, to be explored? The Kassel literature exhibition is the value and standard of Western culture and arts What is the status of Chinese artists’ works in the important academic exhibitions in the West? Chinese artist Yan Lei’s “Limited Art Projects” presented by dOCUMENTA 13 have drawn much attention. In addition to being associated with the chief curator card Lorraine’s communication, Yan Lei and independent curator Li Zhenhua throughout the project maintained close communication, Li Zhenhua participated in the exhibition album “do my favorite” editor, as China and Europe Li Zhenhua, an independent curator with frequent contacts, has long been observing and thinking about the Kassel literature exhibition and the European arts system. Li Zhenhua’s interpretation of the Kassel literature exhibition talks about the achievements and dreams of this literature exhibition, and Limitations and barriers.