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New Public Art in China

New Public Art in China. Friday, August 28, 2009. Socially engaged art, community-based art, experimental communities, dialogic art, littoral art, participatory, interventionist, research-based, or collaborative art. Bad - "exploitation that fails to fully represent their subjects". Good - "authorial renunciation". Kester: communication as an aesthetic form. BZ:Is imagination an aesthetic quality? Can dialogues be aesthetic? Where does this negativity come from? Why is direct action not aesthetical?

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New Public Art in China | newpublicart.blogspot.com Reviews
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New Public Art in China. Friday, August 28, 2009. Socially engaged art, community-based art, experimental communities, dialogic art, littoral art, participatory, interventionist, research-based, or collaborative art. Bad - exploitation that fails to fully represent their subjects. Good - authorial renunciation. Kester: communication as an aesthetic form. BZ:Is imagination an aesthetic quality? Can dialogues be aesthetic? Where does this negativity come from? Why is direct action not aesthetical?
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1 bishop and kester
2 为什么这种艺术有这么多不同的名字
3 我们用什么标准来评价这类艺术
4 1 合作的模式
5 2 美学元素
6 3 社会效应
7 1 什么是好的合作
8 什么是坏的合作
9 2 如何定义美
10 3 如何衡量社会效应
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bishop and kester,为什么这种艺术有这么多不同的名字,我们用什么标准来评价这类艺术,1 合作的模式,2 美学元素,3 社会效应,1 什么是好的合作,什么是坏的合作,2 如何定义美,3 如何衡量社会效应,社会效应是否是可以衡量的,为什么要反对?,audience research,learn from anthropology,labels 理论,fritz haeg,sundown salon series,edible estates,animal estates,labels 创作者
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New Public Art in China | newpublicart.blogspot.com Reviews

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New Public Art in China. Friday, August 28, 2009. Socially engaged art, community-based art, experimental communities, dialogic art, littoral art, participatory, interventionist, research-based, or collaborative art. Bad - "exploitation that fails to fully represent their subjects". Good - "authorial renunciation". Kester: communication as an aesthetic form. BZ:Is imagination an aesthetic quality? Can dialogues be aesthetic? Where does this negativity come from? Why is direct action not aesthetical?

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1

New Public Art in China: Mouffe: 艺术行动主义和对抗空间 2007

http://newpublicart.blogspot.com/2009/08/mouffe-2007.html

New Public Art in China. Saturday, August 8, 2009. 英文原文 Chantal Mouffe, "Artistic Activism and Agonistic Spaces," Art and Research. 12 (Summer 2007), 见 http:/ www.artandresearch.org.uk/v1n2/mouffe.html. Chantal Mouffe 是一位马克思主义者, 她最著名的著作是和 Ernesto Laclau 合著的 Hegemony and Socialist Strategy: Towards a Radical Democratic Politics. 展览 - The Interventionists 2004. 概念 - 地下 (underground). 许志永《公民社会的未来》(2008).

2

New Public Art in China: Groys:装置的政治 2009

http://newpublicart.blogspot.com/2009/08/groys-2009.html

New Public Art in China. Sunday, August 2, 2009. 英文原文:Boris Groys, "Politics of Installation," e-flux. 2 (Jan 2009), 全文载 http:/ www.e-flux.com/journal/view/31. 中文翻译戴章伦,刊登于《当代艺术与投资》32 (2009年8月)页7-12. 格洛伊斯教授在开篇试图区分艺术家和策展人的不同。简单的说,现代社会给予艺术创作以绝对自由,因此艺术家在创作作品时,不需要对公众负责。而艺术展览是在公共空间进行的,策展人需要向公共负责,一方面作为公众的代表挑选作品,一方面要向公众解释作品之所以应该被公众观看的原因。 格洛伊斯教授的核心意图并非要去区分艺术家和策展人,而是要揭示艺术与自由、艺术与公共的关系。他指出,自由是个“含糊的”观念。自由既包括“个人化的自主决定,比如个人消费,个人投资,或宗教信仰自由”&...格洛伊斯教授继而讨论的并非所有的装置作品,而是“关系美学”作品,即在装置空间中演绎社会关系的作品&#1...格洛伊斯教授指出,“...1970年&#652...

3

New Public Art in China: Bishop & Kester:

http://newpublicart.blogspot.com/2009/08/bishop-kester.html

New Public Art in China. Friday, August 28, 2009. Socially engaged art, community-based art, experimental communities, dialogic art, littoral art, participatory, interventionist, research-based, or collaborative art. Bad - "exploitation that fails to fully represent their subjects". Good - "authorial renunciation". Kester: communication as an aesthetic form. BZ:Is imagination an aesthetic quality? Can dialogues be aesthetic? Where does this negativity come from? Why is direct action not aesthetical?

4

New Public Art in China: July 2009

http://newpublicart.blogspot.com/2009_07_01_archive.html

New Public Art in China. Friday, July 31, 2009. 当代艺术与投资:作为“政治性”的艺术生产 (2009). 12298;当代艺术与投资》第32期,2009年8月,第6页。全文如下:. 本期的“注目”专题,更像是试图搭建一次圆桌对话。 评论都是一种“政治性的实践”。这种“冲动”的产生,可以追溯. 到1970 年代始在西方活跃的“机构批评”,如马塞尔· 布罗德瑟尔、. 丹尼尔· 布伦及汉斯· 哈克等代表人物已经使得传统意义上的博物. 馆成为一个“政治性”的讨论舞台;鲍里斯· 格洛伊斯在《装置的. 政治》里指出:“艺术创作与艺术展示之间不再有任何本质的区别”,. 彼得· 弗格干脆在《新博物馆学》里一言道破:“所有的呈现都具. 创作和表达一直处于权力系统的包围(被压抑)中,虽然它不可. 受阻于体制的强压或是市场的诱拐。正如姚嘉善所指出的:“中国. 当代艺术苦于政治性的缺乏,但更糟的是苦于自身的庸俗化。”(见. 12298;无规则的竞赛无输赢》); 中国当代艺术的生产自然有赖于其自身. 但艺术社会化之后,出现了新的危险:在官商结合的操纵下&...It is an in...

5

New Public Art in China: 概念 - 地下 (underground)

http://newpublicart.blogspot.com/2009/08/underground.html

New Public Art in China. Sunday, August 2, 2009. 概念 - 地下 (underground). 内容:作品的内容是主流文化中没有或者排斥的内容,属于边缘人群 - 比如流动劳工、女性、同志人群的文化 - 的文化。 形式:同主流不同的形式,比如在音乐领域,pop是主流,punk是地下。 传播:作品的传播依赖地下渠道,比如中国以前的手抄本。西方现在的很多fanzine依然是家庭印刷、手工装订;地下音乐有自己的label,靠网络直销或下载。 展览 - The Interventionists 2004. 概念 - 地下 (underground). 许志永《公民社会的未来》(2008).

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New Public Art in China

New Public Art in China. Friday, August 28, 2009. Socially engaged art, community-based art, experimental communities, dialogic art, littoral art, participatory, interventionist, research-based, or collaborative art. Bad - "exploitation that fails to fully represent their subjects". Good - "authorial renunciation". Kester: communication as an aesthetic form. BZ:Is imagination an aesthetic quality? Can dialogues be aesthetic? Where does this negativity come from? Why is direct action not aesthetical?

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