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进入90年代之后,任何走上街头和在公共空间聚集的行动在中国几乎都无法正式进入公众视野。对于大多数人而言,似乎“公共空间”一词没有太多实质的意义,“圈子”、“江湖”反倒留下深刻的印象。中国社会的“圈子”曾承担了一部分“公共空间”所能提供的交流和思考功能。早期中国当代艺术圈亦是从从小规模的地下展览开始形成。2000年,既是中国互联网发展的黄金期,也是中国当代艺术首次获得官方大展认可的世纪元年。此后十年间,借由网络论坛的发展,大大拓宽了相互交流的渠道,再加上接踵而至的国际参展机会,中国当代艺术的圈子变得空前庞大。如果说目前的中国当代艺术已深陷全球当代艺术体制
After entering the 90s, almost any action taken onto the streets and gathering in public spaces can not be formally put into public view in China. For most people, it seems that the term “public space” does not make much sense and the “circles” and “rivers and lakes” are rather impressed. The “circle” of Chinese society has assumed some of the communication and thinking functions that “public spaces” can provide. Early Chinese contemporary art circles also started from small-scale underground exhibitions. In 2000, it was not only the golden period for the development of China’s Internet, but also the first year of the first year that Chinese contemporary art was recognized by the official exhibition for the first time. In the next ten years, the development of online forums has greatly broadened the channels for mutual exchange. Coupled with the attendant opportunities for international exhibitors, the circle of Chinese contemporary art has become even more unprecedented. If we say that contemporary Chinese contemporary art has been deeply trapped in the global contemporary art system