展览：围起当代艺术博物馆（展览）_贴图&拍客

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举报只看楼主使用道具楼主发表于: 2020-05-24 0

围起当代艺术博物馆》是于上海当代艺术博物馆外公共空间举办的群展。
"Encircling the Power Station of Art" is a group exhibition held in the public space outside the Power Station of Art in Shanghai.
展览时间：2020.05.23-撤展时间不定
展览地点：上海当代艺术博物馆外公共空间

展览海报
对于美术馆空间与周围空间的关系早有讨论。Michael Asher于1970年的作品中，曾将美术馆的馆门拆除，以户外的声音及光线作为展览内容。但这一过程仍带着浓厚的西方形而上学色彩；其主体观念是作为抽象实体的“美术馆空间”和“非美术馆空间”。
在《围起当代艺术博物馆》中，这些形而上学式陈词滥调就此退场，取而代之的是社会学式的质问：将对“美术馆-非美术馆”概念上的分析改换成在具体社会背景下美术馆所在的具体情境、其社会学式的辐射范围。美术馆成为了三维时空中对某一社会行为的符号暗示；具体的社会学式的“美术馆空间”——“上海当代艺术博物馆”是展览物理及概念上的后景。
可以这样理解：本展览在传统的“美术馆空间”、“非美术馆空间”二元论批判内设立了“次美术馆空间”；这一在“次美术馆空间”举办的展览，是在特殊世界背景下对固有展览形式的反思。
The relationship between space of art museum and its surrounding space has long been discussed. In a 1970 work by Michael Asher, the entrance of the gallery was removed and outdoor sound and light were used as exhibition content. However, this process still had a strong color of western metaphysics. Its main concept is "art museum space" and "non-art museum space" as abstract entities.
In "Encircling Power Station of Art", these metaphysical cliches are repelled and replaced by sociological questioning: the conceptual analysis of "art museum-non-art museum" is changed to the specific situation where the art museum is located and its sociological radiation range under the specific social background. The art museum has become a symbolic hint of a certain social behavior in three-dimensional space and time. A concrete sociological "Art Museum Space"-"Power Station of Art" is the physical and conceptual background of the exhibition.
It can be understood as follows: 1. This exhibition set up "sub-art museum space" within the traditional dualist criticism of "art museum space" and "non-art museum space"; 2. This exhibition held in the "Sub-Art Museum Space" is a reflection on the inherent exhibition form under the special world background.
参展人及其作品
陈与安