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exhibitions
“图像·历史·存在” 评泰康人寿收藏展»
今年夏末，泰康人寿保险公司的艺术收藏占领了中国美术馆的整个三楼，从评论角度上讲，收藏展不一定能够吸引评论家产生太多的言说，但是由于泰康空间最近举办了“51平方米”的系列，给批评家提供了讨论新兴艺术家与实验性创作的机会，所以，北京的艺术界对这场展览还是心怀期待的。收藏中有不少现当代的里程碑式之作，而展出的作品涉及了近期艺术市场里所有的重要名字，同时也展现了中国不断发展的前卫艺术，
赵要: 我是你的黑夜»
带有儿童般的色彩与几何形体的布面作品《很有想法的绘画》（全部作品均为2011年所作）在命名上具有嘲弄意味，讽刺了当下这些以绘画为起点的年轻观念艺术家日益追求深刻性的倾向。并且，这当中的很多艺术家都在赵要做展览的同一家画廊展出，如今这里被他填满了“欲滴”的电线或尖利的木头、阵阵传来现场弹舌头声音的闪屏电视机，他的“有想法的”绘画则直接取自视觉思维训练题与图片，这些图案就这样被搬到了格子布上。他选择的粗陋审美和对空间的通盘介入几乎成为了一种具有魔力般的尝试，试图戳穿展览空间的神圣，打破绘画过程的神秘。他将自己颠覆性的倾向付诸于对绘画有效性和观众期待性的挑战上，成功地将观众带入到现实存在中。整个展览场景就如居伊·德波（Guy Debord）所说的那种构建的“情势”，在此处，在令人惊叹的雕塑的纠结中，我们评判性的自我意识止于脱口而出的“啊啊”声，交叉斜穿过地面长长的对角线。赵要其实也强调艺术家的动手能力，所有的作品都是亲自动手完成的。虽然，他的粗粝美学手法体现了一种对精良手工技艺或绘画过程以及它们相应而出的复杂的意识形态的抵制。艺术家试图拿掉它们的伪饰和独断性，但每件作品依然是制作精细，恰到好处。赵要仿佛遁入了一种可辨识的风格中，让前辈艺术家们认为，他意图让他们走下神坛，却被认为是在变戏法，而非从滋养了个人美学的熏陶中真正脱离开来。来源，艺术论坛
《三部曲：刘韡个展》媒体资料»
On March 20, the Minsheng Art Museum in Shanghai threw open its doors on Liu Wei’s solo show, “Trilogy” 《三部曲：刘韡个展》. Who said there were no local art museums? Although I couldn’t make it for the show, and I can’t offer any critical analysis or interesting commentary, I decided, considering the popularity of previous posts […]
没顶公司：不要把信仰挂在枪伤»
In June last year, Long March mounted a solo exhibition for MadeIn Co., integral to which was a bit of media trickery. Its been a long time, but I thought it worth to write about here. The show was an interesting ruse best appreciated from within the local art machine.
The press release went out to […] -
books
高名潞书目：第二部 (2008-2010)»
高名潞的《’85美术运动》全面透视并呈现了中国当代艺术史上最令人激动、最富乌托邦色彩、最具青年造反气质，又最为广泛生发的 艺术运动。全书分两 卷：上卷“80年代的人文前卫”是高名潞与周彦、舒群、王小箭、王明贤、童滇等人所著《中国当代美术史：1985—1986》（上海人民，1991）的修 订版。
高名潞的书目: 第一部 1997－2008»
The following is a complete list of Gao Minglu’s publications in English and Chinese, with synopsis (when available) and table of contents in both English and Chinese, to reveal Chinese language information, click 中文 to your right.
1991 主编《中国当代美术史》editor of “The History of Contemporary Chinese Art” [Chinese only]
Not Available
1997《中国当代美术史（1985—1986）》“The History of Contemporary Chinese Art […]
巴巴啦揭露了中国当代艺术界»
The title alone of Barbara Pollack’s part exposé, part romp through the Chinese art world seems enough to identify the author’s New Yorker status. But she wears her outsider status like a badge, humbly poising herself to profile art world power players and make a broad outline of the yet infantile Chinese art infrastructure. As an […]
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