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本期推荐鲍里斯·格罗伊斯(Boris Gloys)在第24期e-flux期刊上发表的《艺术与金钱》,文章的背景是去年年底到今年初西北欧国家右翼政权以当代艺术过分“精英主义”为借口,从意识形态到财政上直接打击视觉艺术及其机构实践,格罗伊斯与当期的其他作者共同撰文声援这些地区的抗争。当格罗伊斯对格林伯格的先锋艺术与精英主义的有关悖论进行进一步阐释的时候,我们可以清晰地看到这种艺术市场精英的中西差别:西方的精英试图掩盖自己的身份以便减少来自大众的敌意,拉近与大众的距离,而中国的精英则通过高调地炫耀自身的社会经济地位而成为大众的偶像。因此,从一方面来说格罗伊斯文中所提到的绝大部分“艺术与金钱”关系的前提都是失效的,而另一方面我们在现实中却时刻面对着同一个问题。因此,我本期提出的策展问题是:“我们可以怎样促进那些无法直接进入市场流通的艺术实践和艺术生产?”
This issue is an introduction to Boris Gloys’s “Art and Money” in the e-flux issue of the twenty-fourth essay. The article’s background is from the end of last year to the beginning of this year. “Elitism,” as an excuse, from the ideological to financial impact directly on the visual arts and its institutional practice, Geluisi and other current author co-wrote in solidarity with the protests in these areas. When Groies further expounds on the paradox of Greenberg’s avant-garde art and elitism, we can clearly see the difference between China and the West in this art market elite: Western elites try to hide their identities in order to reduce Hostility from the general public narrowed the distance from the public, while China’s elite became the idol of the public by showing off their socio-economic status in a high-profile manner. Thus, on the one hand, the preconditions for the vast majority of the “art and money” relations mentioned in Grun’s are both failures, and on the other hand we face the same problem in reality . Therefore, the current issue of curatorial issues raised by this issue is: “How can we promote the artistic practice and art production that can not directly enter the market?”