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在过去的5年里,国内艺术公众的视野中出现了一个新词汇:“商业艺术展”(Commercial Art Exhibition)。这个新词的频繁出现与国内民营艺术机构近几年频繁策划和推动的大量艺术展览有关。他们一方面通过商业运作,将西方艺术史上的大师原作引入国内,让国内的观众有机会看到了许多优秀的艺术作品,另一方面,诸如2015年三场达利大展撞车、700多件作品扎堆在国内出现等现象,也暴露了目前中国艺术商业艺术展览中存在的许多问题[1]。客观地看,国内目前的商业艺术展自身仍处于起步阶段,而公众、媒体和专业人士对这种展览
In the past five years, a new vocabulary emerged in the public eye of the domestic art community: Commercial Art Exhibition. The frequent occurrence of this new term is related to the large number of art exhibitions frequently planned and promoted by domestic private art institutions in recent years. On the one hand, they brought the original works of masters in the history of Western art into the country through commercial operations. This gave domestic visitors an opportunity to see many excellent works of art. On the other hand, such as the crash of three Daly Exhibitions in 2015 and over 700 works A combination of phenomena such as the emergence of the phenomenon in China also exposed many of the problems existing in the art trade exhibitions in China at present [1]. Objectively speaking, the current domestic commercial art exhibition itself is still in its infancy, and the public, media and professionals of this exhibition