“中国目前所遭遇的是策展人最好和最坏的时代。”21世纪初,朱青生先生提出了一个观点:“没有人是艺术家,也没有人不是艺术家。”10余年之后,终于有了与之结伴而行的时代话语:没有人是策展人,也没有人不是策展人。或者说,“没有人是策展人,也没有人不是策展人”是一种泛策展人的文化现象,但在学术上它能够归结为策展人的话语机制吗?作为悖论意义的泛策展人,是艺术批评家却更像艺术家一样强调展览的探索性与实验性,是艺术家却更像艺术批评家一样坚持 “At the beginning of the 21st century, Mr. Zhu Qingsheng put forward a view: ” No one is an artist, no one is not an artist. “” More than 10 years later , Finally with the words of the times go hand in hand: no one is a curator, no one is not a curator. Or, “Nobody is a curator, and no one is a curator.” It is a pan-curatorial cultural phenomenon, but can it be attributed to the curator’s discourse academically as a paradox? On the curatorial side of the meaning, art critics place more emphasis on exploratory and experimental exhibitions than artists, but artists are more like art critics