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横滨美术馆YOKOHAMA MUSEUM OF ART2013.04.13～2013.06.16艺术界近些年对东南亚渐增的兴趣是毋庸置疑的。去年的迪拜艺术博览会邀请了艾利雅·丝瓦思蒂卡担任关注东南亚艺术的“记号”策展空间的策展人;五月底,香港佳士得举办专场拍卖会,呈现东南亚藏品之多为佳士得历年之最。或许最具说服力的还是纽约古根海姆美术馆的展览“无国别:南亚和东南亚当代艺术”。(或许有人会怀疑成长于欧洲的越南裔艺术家傅丹为何得到如此关注,或许还是因为他的种族背景吧。)除了这兴趣背后的原因,不难看出东南亚艺术的火热与中国当代艺术在国际社会崛起的相似之处。的确,曾经推动中国当代艺术得到全球认可的那些西方人现在面临着全新的挑战。至少,在一些西方人眼里,中国艺术家都是一类人;在同样的期待下,
Yokohama Museum of Art YOKOHAMA MUSEUM OF ART2013.04.13 ~ 2013.06.16 The growing interest of art circles in Southeast Asia in recent years is beyond doubt. At last year’s Dubai Art Fair, Elia Sivati Tika was invited as a curator for the “Token” curatorial space concerned with art in Southeast Asia. At the end of May, Christie’s Hong Kong held a special auction featuring most of the collections in Southeast Asia as Christie’s Most of the calendar year. Perhaps the most persuasive is the exhibition at the Guggenheim Museum in New York City, “No Country: Contemporary Art in South Asia and Southeast Asia.” (Perhaps one wonders why Fu Dan, a Vietnamese-born artist who grew up in Europe, got so much attention, perhaps because of his ethnic background.) Beyond the reasons behind this interest, it is not hard to see the fiery art of Southeast Asia and contemporary Chinese art in the international community The similarities of rise. Indeed, those Westerners who once pushed global recognition of Chinese contemporary art are now facing new challenges. At least, in the eyes of some Westerners, Chinese artists are all human beings. Under the same expectations,