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2007年末我有一个驻留计划,在匈牙利首都做了几周短暂的停留。这里已看不到过去游牧民族的痕迹。还能体现其过往辉煌的是那些巨大的浴场,这些浴场如同皇宫殿堂,依旧保持着雄浑的姿态。C~3这个机构与其他欧洲的机构不同,大部分欧洲媒体艺术机构的兴起是在70年代末期或是90年代初期。C~3面临双重困境,即政治转型和经济竞争,它最终不得不退守到一个日常空间之中,关注研究和记录的工作,而不能完成类似欧洲主流机构的转型,如博物馆化、艺术节化等等。C~3在中、东欧的代表性,也来自其对西方文化的接纳,来自其知识界、艺术界对这一主流文化的批评和质疑。回到中国的现实,我们也要反思,对西方整体当代艺术这一理念的接纳并认定其先进的特性是否是有问题的?其所隐含的对文明、自有、
At the end of 2007 I had a residency plan and a few weeks short stay in the Hungarian capital. No trace of past nomads can be seen here. But also reflects its past glories are those huge baths, these baths as palace palace, still maintain a masculine gesture. C ~ 3 This institution is different from other European institutions, the rise of most of the European media arts institutions in the late 70s or early 90s. C ~ 3 is faced with double dilemmas, namely, political transition and economic competition. It eventually has to retreat into a daily space, paying attention to research and records and can not complete the transformation of major European institutions such as museums and arts festival and many more. The representation of C ~ 3 in Central and Eastern Europe also came from its acceptance of Western culture from the critical and questioning of this mainstream culture by its intellectual and artistic circles. Returning to the reality of China, we must also reflect on whether the acceptance of the idea of Western contemporary art as a whole and its advanced features are problematic. The implication of this is that it is a matter of civilization,