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五年一届的“全国美展”理所当然是当代中国美术舆论的“热点”;美展作品评选、评奖的结果是否“公正”,总是成为经常被议论的话题的中心;获得最高奖项的作品“资格”,总是受到这样那样的怀疑。耐人寻味的是,介入议论的不仅有参展的艺术家,还有对作品的入选、获奖资格拥有仲裁权的部分“评委”。 无论是在逻辑上还是事实上,我们首先都必须确认,五年一届的“全国美展”是当代中国美术每一时段中规模最大、覆盖面最广、规格最高因而最具“权威性”的展览。中国美术界自上而下的创作动员指令和自下而上的作品征集、遴选机制,是确保“全国美展”如期胜利开幕并成为当代中国美术发展史上一个又一个的“里程碑”的重要条件。从主题的明确性、时间的划一性、操作的规范性来看,“全国美展”当然是也只能是“行政”动作的结果,所有的荣誉和价值准则离开了来自“行政”权力的裁定,便会变得毫无意义。
The “National Art Exhibition” held every five years is of course a “hot spot” in the contemporary Chinese art public opinion; the selection of the works of art exhibitions and the “fairness” of the results of the awards are always the centers of the topics that are often discussed; the highest attainable award “ ”, Always subject to such kind of suspicion. What is intriguing is not only the participating artists who participated in the discussion, but also the “judges” who have the right to participate in the selection of the work and who have the qualifications of winning the arbitration. Whether it is logical or factual, we must first confirm that the “National Art Exhibition” held every five years is the most authoritative exhibition of the largest scale, the most extensive coverage and the highest specification in contemporary Chinese art. . The top-down creative mobilization instruction and the bottom-up solicitation and selection mechanism of the Chinese fine arts world ensure that the “National Art Exhibition” opens on time and becomes one of the important “milestones” in the history of contemporary Chinese art. Judging from the clarity of the theme, the time uniformity and the normative operation, the “National Art Exhibition” of course can only be the result of “administrative” actions. All the honors and values have left the ruling from the “administrative” power , It will become meaningless.