發(fā)布時(shí)間：2018-06-27 20:12

  本文選題：文獻(xiàn)展 + 卡塞爾　； 參考：《吉林藝術(shù)學(xué)院》2015年碩士論文

【摘要】：藝術(shù)作為社會(huì)意識(shí)形態(tài)與上層建筑,必定受當(dāng)下社會(huì)經(jīng)濟(jì)發(fā)展形態(tài)所制約。但在經(jīng)濟(jì)不斷飛速發(fā)展、人民生活水平日趨上升的現(xiàn)代社會(huì)中,藝術(shù)展覽這一社會(huì)文化活動(dòng)已經(jīng)成為人們?nèi)粘Ｎ幕畹闹匾M成部分,對(duì)于社會(huì)大眾而言藝術(shù)也再也不是那么遙不可及的高閣之物,它既可以滿足人們的精神需求,同時(shí)也逐漸成為人們的精神消費(fèi)品。人人都可以欣賞藝術(shù),品味藝術(shù),甚至創(chuàng)造藝術(shù),以及擁有藝術(shù)。那么,藝術(shù)品最直接、最主要的展示方式,則是展覽。人們?yōu)榱颂嵘囆g(shù)所帶來(lái)的經(jīng)濟(jì)利益和精神快感,使得展覽這一從西方的舶來(lái)方式在中國(guó)得以迅猛的發(fā)展,并一度蔚然風(fēng)行。隨著藝術(shù)展覽的增多,展覽的形式也在逐漸發(fā)生著變化。人們慢慢意識(shí)到,為什么我們需要這么多的展覽?這些展覽究竟為我們帶來(lái)了什么?隨著問(wèn)題的深入,“文獻(xiàn)展”這一展覽形式自然而然的發(fā)生在了我們身邊。展覽作為先鋒藝術(shù)的試驗(yàn)場(chǎng),不斷地為人類(lèi)展示著藝術(shù)的發(fā)展歷程。然而藝術(shù)展覽只能給人們留下暫時(shí)的感官上感受,卻不能真正意義上使人們獲得展覽的深層含義,更多時(shí)候使得展覽的形狀變得模糊不清�！拔墨I(xiàn)展”這一概念的出現(xiàn),恰巧解決了這一問(wèn)題,人們通過(guò)文獻(xiàn)展的形式逐漸深入的了解展覽策劃的全過(guò)程,以及展覽所針對(duì)的問(wèn)題,通過(guò)展覽上展示的內(nèi)容傳達(dá)給人們湛藍(lán)的中心意圖和策展人的文化思考。如果說(shuō)美術(shù)館是駐留歷史、文明和藝術(shù)印記的空間,那么文獻(xiàn)展則講述了歷史、文明以及藝術(shù)發(fā)生發(fā)展的全過(guò)程。文獻(xiàn)展的成功不完全是來(lái)自作品的本身,很重要的一部分是要依賴展覽空間與藝術(shù)作品的結(jié)合才能得以完美呈現(xiàn),只有最恰當(dāng)?shù)爻尸F(xiàn)出作品完整的內(nèi)涵與客觀本質(zhì),以及所涉及的文化內(nèi)容的全部,才會(huì)使得展覽成就其最終的價(jià)值。本文通過(guò)對(duì)歷時(shí)100天,每五年展出一屆的卡塞爾文獻(xiàn)展和吉林藝術(shù)學(xué)院正在執(zhí)行的大型文獻(xiàn)展進(jìn)行深入的案例分析,通過(guò)對(duì)文獻(xiàn)展發(fā)生、發(fā)展全過(guò)程的透析,使人們了解文獻(xiàn)展與當(dāng)下層出不窮的展覽的區(qū)別。并探究文獻(xiàn)展的展場(chǎng)空間構(gòu)成模式對(duì)其藝術(shù)作品、策展人、文獻(xiàn)展本身以及觀者帶來(lái)非同凡響的視覺(jué)、聽(tīng)覺(jué)、知覺(jué)上的全方位的效應(yīng)及影響。
[Abstract]:As a social ideology and superstructure, art is bound to be restricted by the present social and economic development. However, in the modern society with the rapid development of economy and the rising living standards of the people, the art exhibition, as a social cultural activity, has become an important part of people's daily cultural life. For the public, art is no longer an inaccessible thing, it can not only meet the spiritual needs of people, but also gradually become people's spiritual consumer goods. Everyone can enjoy art, taste art, even create art, and own art. Well, the most direct, the most important way to display art, is the exhibition. In order to enhance the economic benefits and spiritual pleasure brought by art, the exhibition, an imported form from the West, has developed rapidly in China, and has been popular for a time. With the increase of art exhibition, the form of exhibition is gradually changing. People are slowly realizing, why do we need so many exhibitions? What exactly have these exhibitions brought us? With the deepening of the problem, the exhibition form of "document exhibition" naturally occurs around us. As a pioneer art testing ground, the exhibition continuously shows the development of art for mankind. However, the art exhibition can only leave people with temporary sensory feelings, but can not really make people get the deep meaning of the exhibition, and more often make the shape of the exhibition blurred. With the emergence of the concept of "document exhibition", the problem has been solved. Through the form of literature exhibition, people gradually and deeply understand the whole process of exhibition planning and the problems that the exhibition aims at. It conveys the central intention of blue and the cultural thinking of curators through the contents of the exhibition. If art galleries are the space where history, civilization and art are imprinted, the literature exhibition tells the whole process of history, civilization and the development of art. The success of the literature exhibition is not entirely from the work itself. The important part is to rely on the combination of the exhibition space and the works of art to be perfectly presented. Only when the complete connotation and objective nature of the work is most appropriately presented, And all the cultural content involved will make the exhibition achieve its ultimate value. In this paper, through the in-depth case analysis of the Kassel document exhibition, which is on display every five years, and the large literature exhibition being carried out by the Jilin Academy of Art, which lasts for 100 days, and through the dialysis of the whole process of the development of the literature exhibition, Make people understand the difference between the literature exhibition and the emerging exhibition. And explore the exhibition space model of literature exhibition to its works of art, curators, literature exhibition itself and the viewer to bring extraordinary visual, auditory, perception of the omnidirectional effect and influence.
【學(xué)位授予單位】：吉林藝術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2015
【分類(lèi)號(hào)】：J124

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本文編號(hào)：2075149