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记载的不全面、史料的遗失、人为的疏漏等等,造成了艺术史上的众多疑点和空缺,使得艺术史的许多段落听起来像“故事”,将故事变成事实,就是世世代代的前人给后人出的难题,也是世世代代的艺术史家们在兢兢业业做的事情。象中国清代南方沿海西洋风格的“贸易画”问题,从最初提出来到情愿致力于此的人渐多,再到形成一个热点,我们只能乐观地寄望着,果真有拨云见日的那一天,又正赶上我们还活着,就该为它欢呼,却不知,同时我们又为后人留下了什么难题?卡塞尔文献展有着近半个世纪的历程和连续十届的业绩,无疑已成为我们系统了解20世纪后半叶当代艺术中的一些重要现象、观点和主张所无法逾越的资料库。它的成功在于不是简单地陈列作品,而是强调作品的质量和关联性,突出主办者和艺术史家的思想:还在于每一届都有不同的旨意和主张,能够常办常新,这些或许是所有展览成功的要义吧。
The incomplete records, the loss of historical materials, man-made omissions, etc. have caused many doubts and vacancies in the history of art, making many passages in the history of art sound like “stories” and turning the stories into facts, that is, before the generations The problems that people give to future generations are also matters that art historians of all generations are working diligently and conscientiously. Like the “Western-style” trade painting issue in the south coast of China in the Qing Dynasty, from the initial proposal to the people who are willing to devote themselves to it, and then to the formation of a hot spot, we can only hopefully optimistically expect the day , But also catch up with us alive, we should cheer for it, but I do not know, at the same time we have left behind for any future problems? Kassel literature show has nearly half a century of history and the performance of ten consecutive years, no doubt Has become an insurmountable database for our systematic understanding of some of the important phenomena, ideas and propositions in contemporary art in the second half of the 20th century. Its success lies not in the simple display of works, but in the emphasis on the quality and relevance of the works, in highlighting the ideas of the organizers and art historians: that each session has its own different purposes and propositions, It’s all about the success of the show.