【 2007-08-13 11:18:07 编辑:深秋小屋 字体: 大|中|小】
40多位中国艺术家/50多个被枪毙的方案
策展人:比利安娜
地点:可当代艺术中心、凯旋路613号(靠近延安西路)
展览时间:2007年9月1号至9月10号
展览暨可当代艺术中心的开幕酒会:2007年9月8日、18:00
开放时间:12:00-20:00、免费入场
更多的信息:biljana.ciric@gmail.com
021-61313080
落选沙龙是1863年兴起于巴黎的一个展览理念。该展览展出提交给巴黎艺术沙龙展览而被评委会拒绝的作品。
该展览持续了几年后被政府取消了。但评选标准问题直至今日仍众说纷纭。大型展览如双年展、美术馆的展览、艺术家策划展等究竟应该适用什么样的评选标准?每个展览都有自己的性质、参考因素、策划结构、策划人角色的改变,策划艺术家角色,机构政策,这些因素决定了最终完成的展览中会展出什么样的作品。实际上我们最终所看到的已经是评选的结果了。
今天在中国,随着社会对当代艺术实践兴趣的提升,许多评选的机构基础设置和策划模式标准截然不同。上世纪90年代,策展人作为一种职业在中国被重新定位,尤其是随着机构策展人作为展馆主要人物地位的确定,它在面临体制化问题的同时取得了重要而困难的角色。另一方面,一些策展人转向自营的画廊空间,艺术家开始涉及策划工作,以推出他们自己的策略。
中国艺术家在国外艺术机构的频繁现身,这些境外机构对来自中国的展览的期待同样也带来了艺术家试图了解评选标准问题。
机构展览由于不同的评选步骤有他们自己的评选标准,画廊执行他们自己的标准,策展的艺术家同样有自己的标准。
个人艺术家面对这些标准应当怎么办?
许多被拒绝的提案通常就是呆在艺术家的电脑里,有些得以实现,但大多数都没有这个机会,因为艺术家又有了新的想法。但这些被拒绝的提案事实上从另一个角度反映了今天的艺术实践和它的复杂方向。
被拒作品项目意在展出不体现我的策展标准的,艺术家愿意展出的,没有任何入选项目的提案。
艺术家愿意展出的所有被拒项目都将成为项目的一部分,同时艺术家也可以邀请其他艺术家的被拒作品共同参加整个项目。
通过被拒项目现象,我们将有机会对当代艺术实践、策展人对艺术家作品的评选标准、艺术家在机构、市场和实验三角之间的重新定位作更进一步了解
另一方面项目将展现中国当代艺术在中国的发展史,以及它通过机构建设、艺术界和公众接纳慢慢成为公众生活一部分的过程。
该被拒作品项目的艺术质量不容置疑,但在多数作品中机构评选标准和策展方法存在疑问。
同时项目致力于探索艺术家提出提案的创作过程,与艺术家进行讨论,最终接纳或拒绝。如果未被接受,艺术家或者继续递交提案,或不参与展览。最终会产生什么结果来参与展览,是否有一定的自我审查意味
展览是项目的开始部分,项目将在《枪毙的方案》一书中出版。
媒体支持:东方早报、艺术世界、www.hishehui.com、东方视觉
鸣谢:Martin Strobel
Venue: Ke Center for Contemporary Arts, Kai Xuan Road 613(near west Yan An road), Shanghai
Exhibition duration period: September 1st to September 10th, 2007
Opening reception of exhibition and inauguration of newly opened Ke Center for Contemporary Art: September 8th, 2007, 18:00
Hours: Open daily, 12:00- 20:00, Free Entry
www.kecenter.org
Curator: Biljana Ciric
The Salon of the Rejected or Salon des Refuses was an exhibition that started in 1863 in Paris. The concept was to show works that were submitted to Salon de Paris but were rejected by a selection committee.
This exhibition continued its life for few years until the government cancelled funding. Today these same issues are still being questioned. What are the selection criteria of large-scaled exhibitions like biennales, museum shows, artists’ curated exhibition etc? Each exhibition carries it’s own nature and parameters, curatorial structures, changing roles of artists/curators and institutional policies. These all determines what will be shown in the end as a completed project. What we actually see at the end is already selected outcome.
Today in China with the growing interest in contemporary art, institutional infrastructure and curatorial models still happen under different criteria. In the nineties, curatorship, as a profession started to be repositioned in China. Especially within established institutions and museums, curators become key figures. As they gained importance, they also faced problems of institutionalization. On the other hand some of the curators turned to gallery spaces and artists started getting involved in the curating process bringing their own unique strategies. The frequent presence of Chinese artists in foreign art institutions and their expectations towards exhibitions from China also provide criteria that artists try to question.
Due to different procedures of approvals, institutional exhibitions each have their own criteria. Gallery organized exhibition carry their own, artists curated exhibition again have their own criteria.
How do individual artists deal with these changing modes of critique?
Most of the rejected proposal usually stay in artists computer, some of them may get the chance to be realized, but most, not because the artists changed their proposal or ideas. From another point of view, these rejected proposals actually are reflection of art practice today and it’s complex directions.
This project, Rejected Collection aims without my curatorial criteria to show proposal that artists are willing to show without any selection of the projects. All rejected projects that the artists are willing to exhibit will be part of the project. At the same time, artists also can invite other artist’s rejected projects to be included in the project. The project will be shown as an alternative archive of artist’s rejected proposals.
Through viewing this rejected project phenomenon we get the chance to get a closer look into contemporary art practice, curators criteria of artists work, and the re-positioning of artists in the triangle of institutions-market and experimentation. On the other hand project represents the history of Chinese contemporary art development and it’s slow turn into the public sphere though institutional infrastructure, the laws of the art world and public acceptance.
These rejected projects are not judged based on their artistic quality but in most of the cases on their sense institutional critique or curatorial approach. At the same time project aims to investigate the artist’s creative process of giving proposals, discussing them and finally being accepted or not. If they are not accepted then the artist either continues submitting proposals or just doesn’t take part in the exhibition at all. A certain sense of self-censorship will determine what works will take part in the final exhibition.
This exhibition marks the beginning of a project that will develop into an archive of rejected projects in Chinese contemporary art
Media Partners: Buzz, Oriental Morning Post, Art World Magazine,www.hishehui.com、Ionly
Special Thanks: Martin Strobel
For more information: Please contact biljana.ciric@gmail.com
Or dial 0086 –21-61313080-221
www.kecenter.org
Access for opening reception with Sh contemporary VIP cards
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