本文選題：當(dāng)代藝術(shù) + 形式　； 參考：《中央美術(shù)學(xué)院》2015年碩士論文

【摘要】：當(dāng)代藝術(shù)在中國(guó)經(jīng)過(guò)89年中國(guó)現(xiàn)代藝術(shù)展的推動(dòng)后變得越發(fā)令人注目,90年由于信息科技仍未像如今這般發(fā)達(dá)許多藝術(shù)展覽或藝術(shù)家創(chuàng)作形式還處在一個(gè)以模仿西方主流形式的步伐當(dāng)中,而隨著電子科技和中國(guó)經(jīng)濟(jì)騰起以及北京申奧成功的環(huán)境下,國(guó)內(nèi)藝術(shù)家或策展人甚至是畫廊開(kāi)始對(duì)自身的發(fā)展作出思考,緊隨其后的便是不同形式的藝術(shù)展覽開(kāi)始出現(xiàn)于公眾的視野當(dāng)中,以首都北京為首延伸至全國(guó)多個(gè)主要城市,如上海、成都、廣州等等,而展覽的多樣性又以北京為最多最繁雜。不同風(fēng)格和取向之藝術(shù)家如潮水般涌入京城,外國(guó)資本開(kāi)始大量介入中國(guó)當(dāng)代藝術(shù)市場(chǎng),種種因素決定了在北京可以擁有無(wú)限量的創(chuàng)新發(fā)生。而今觀察798、宋莊或其他藝術(shù)區(qū)之展覽,除了藝術(shù)形式的多變以外,更多的是展覽布置辦法的日新月異許多營(yíng)利型藝術(shù)機(jī)構(gòu)和畫廊不再滿足于將作品簡(jiǎn)單的放置在四面白墻之上,即便是在墻上的平面作品,整體的布局都是經(jīng)過(guò)仔細(xì)考慮后而得出的結(jié)果。本論文主要以營(yíng)利型藝術(shù)機(jī)構(gòu)和畫廊為分析對(duì)象。即諸如UCCA等非營(yíng)利藝術(shù)機(jī)構(gòu)或者是類似中國(guó)美術(shù)館以及時(shí)代美術(shù)館等國(guó)立、私人美術(shù)館本文都不進(jìn)行具體分析。營(yíng)利型藝術(shù)機(jī)構(gòu)和畫廊在一個(gè)時(shí)代里幾乎是與社會(huì)發(fā)展并肩成長(zhǎng)的,社會(huì)大環(huán)境中若是經(jīng)濟(jì)并不景氣,藝術(shù)市場(chǎng)未能得到發(fā)展,那么本文所討論的藝術(shù)機(jī)構(gòu)或畫廊在經(jīng)濟(jì)上并未能達(dá)到理想效果,直接導(dǎo)致展覽效果質(zhì)量欠佳,畫廊也表現(xiàn)的唯利是圖,無(wú)法很好地完成藝術(shù)學(xué)術(shù)任務(wù)。這一點(diǎn)于中國(guó)較之國(guó)際其他國(guó)家及地區(qū)更為突出,一方面受制于官方層面的支持不足,另一方面則是主要管理者在藝術(shù)與價(jià)值之間難以取得平衡。如今中國(guó)社會(huì)經(jīng)濟(jì)騰飛,使得藝術(shù)又能夠再一次的得到發(fā)展,不同領(lǐng)域的精英人士逐步的涉獵其中,藝術(shù)展覽也因此而得到改善。北京與上海、廣州、成都等地又有著不同的藝術(shù)氣氛,北京有著大大小小的藝術(shù)家群落,以中央美術(shù)學(xué)院的所在地望京幅射出的京郊藝術(shù)區(qū)約有十個(gè)以上,最知名的當(dāng)屬798藝術(shù)區(qū),雖然如今已變成了旅游勝地,但798在10年前卻是藝術(shù)家建立工作室的理想之地；而其他的藝術(shù)區(qū)如一號(hào)地、費(fèi)家村、酒廠、南皋、羅馬湖、草場(chǎng)地和黑橋,都在2000年后逐漸被藝術(shù)家所青睞,眾多的藝術(shù)區(qū)因?yàn)榉績(jī)r(jià)相對(duì)于市區(qū)低廉,藝術(shù)家的基本生活壓力得以減輕這也激發(fā)了許多追尋藝術(shù)理想的人開(kāi)始進(jìn)行大膽的創(chuàng)新。個(gè)人滿足感驅(qū)使藝術(shù)產(chǎn)生了變化,財(cái)團(tuán)的加入也使得藝術(shù)機(jī)構(gòu)和畫廊在花費(fèi)上大灑金錢。人們擁有了財(cái)力與發(fā)達(dá)的科技,也因此能夠輕易的去了解更多國(guó)外的新方法如同日本明治維新一般中國(guó)的藝術(shù)從業(yè)者也開(kāi)始瘋狂的向西方學(xué)習(xí),無(wú)論是藝術(shù)家或策展人甚至是機(jī)構(gòu),他們都在通過(guò)不同方式去進(jìn)行學(xué)習(xí)與模仿。本文章將列舉出2012-14年于北京重要的非官方的當(dāng)代藝術(shù)展覽,每個(gè)展覽都有著不同的形式從中將他們的模式與早期現(xiàn)代藝術(shù)萌芽于歐州或美國(guó)的展覽進(jìn)行比較,分析當(dāng)中的不同和原因,探討左右藝術(shù)展覽發(fā)展和創(chuàng)新的主要因素,淺析問(wèn)題所在,對(duì)未來(lái)的中國(guó)當(dāng)代藝術(shù)前景進(jìn)行展望。
[Abstract]:The contemporary art has become more striking in China after 89 years of China's modern art exhibition. For 90 years, information technology is still not as developed as today's art exhibitions or artists' creative forms are still in the middle of the western mainstream form, with the development of electronic technology and China's economy and Beijing Shen. In the environment of Olympic success, the domestic artists, curators and even the galleries began to think about their own development, followed by the emergence of different forms of art exhibitions in the public view, extending to the capital, Beijing, to several major cities throughout the country, such as the upper sea, Chengdu, Guangzhou and so on, and the diversity of the exhibition Beijing is the most complicated and the most complex. Different styles and orientated artists pour into Beijing, and foreign capital begins to intervene in the Chinese contemporary art market. All kinds of factors decide to have an unlimited amount of innovation in Beijing. Now 798, the exhibition of Song Zhuang or other art areas, in addition to the variety of the artistic form, is more A lot of profit - making art institutions and galleries are not satisfied with the simple placement of the works on the white wall, even on the wall, the overall layout is the result of careful consideration. This paper is mainly based on the analysis of the battalion art institutions and galleries. The private art galleries, such as UCCA and other non-profit art institutions, such as the Chinese Art Museum and the times art museum, do not make a specific analysis. The profit oriented art institutions and galleries have grown almost shoulder to shoulder in a period of time. If the economy is not prosperous in the social environment, the art market has not been developed. Then the art institutions or galleries discussed in this article have failed to achieve the ideal effect in the economy, which directly lead to the poor quality of the exhibition effect, and the art gallery also shows the mercenary, which can not complete the art academic task well. This is more prominent in China than in other countries and regions in the world, and on the one hand it is supported by the official level. Not enough, on the other hand, the main manager is difficult to balance between art and value. Today, China's social and economic takeoff makes art able to develop again, and the elite of different fields are gradually involved, and art exhibitions have been improved. Beijing and Shanghai, Guangzhou, Chengdu and other places are different. The art atmosphere, Beijing has a large and small artist community, the Beijing suburb art area, which is located in Wangjing, the location of the China Central Academy of Fine Arts, is more than ten, the most famous 798 art area, although it has become a tourist resort, but 798 is an ideal place for the artist to build a studio 10 years ago; and other art areas such as In the first place, Fei Jia village, winery, Nan Gao, Rome lake, pasture land and black bridge are gradually favored by artists after 2000. Many art areas have reduced the basic living pressure of artists because of their low price relative to the urban area. This also inspires many people seeking artistic ideas to make bold innovations. Personal satisfaction drives art. There is a change, and the incorporation of the consortium also makes the arts institutions and galleries spilled money. People have financial and advanced technology, and so can easily understand more new ways of foreign countries like the Meiji Restoration in Japan. The exhibition and even the organization, they are all learning and imitating in different ways. This article will list 2012-14 years of unofficial contemporary art exhibition in Beijing. Each exhibition has different forms from the comparison of their model with the early modern art in Europe or the United States. The main factors of the development and innovation of the left and right art exhibitions are analyzed and analyzed, and the future problems of China's contemporary art are prospected.
【學(xué)位授予單位】：中央美術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2015
【分類號(hào)】：J525.2

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