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用市场的角度看待行为艺术这一如此不“商业”的艺术形式,可能会让人诧异。然而,这些实践却享有不止一个市场。行为艺术的流通方式各异,有的“以货易货”(发生于行为艺术家之间组织的各种事件中),也有的真就成了生意,成了艺术生涯经营(玛丽娜·阿布拉莫维奇、冉·法布尔都是其中典范),且资金流动的数目可观,甚至连合伙人和衍生品都有很多。在此,应该广义地理解“市场”这个概念:它不仅包含有着金融意味的、一般意义上的艺术市场,也包括传媒、知识甚至学术界——这篇论述的产生其实正是建立在一场持续一天的讨论会的基础之上。从文化的角度来看,2000年初开始,
It may be surprising to view such an art form as ’commercial’ in a market perspective. However, these practices enjoy more than one market. There are different ways in which performance art can be circulated, and some “barter” (among various events organized by performance artists) have become real business ventures and become artistic career managers (Marina Abramovich and Ran Fabre are examples), and the number of cash flows is substantial, with many partners and derivatives. Here, the concept of “market” should be broadly understood: it includes not only the financially meaningful art market in general, but also the media, intellectuals, and even the academic world. This discourse is actually based on Based on a one-day seminar. From a cultural point of view, beginning in early 2000,