朱其:“末代文青”的策展生涯(组图)
发起人:dfzb  回复数:4   浏览数:2537   最后更新:2007/11/26 01:33:41 by 嘿ju
[楼主] dfzb 2007-11-22 15:48:45
  高士明:策展是一种书写(图)
2007-11-22 1:42:32   

早报记者 马俊



高士明策展的《黄盒子》



中国美院出来的艺术家和策展人,身上似乎总会带着古典时代的情怀。


    有人说,高士明运气很好。年届三十,就已经是副教授,在中国美术学院举足轻重。在校外,他还有一大堆头衔。高士明这个名字,在西方艺术圈也颇有影响力。他可谓是少年得志了。也许他的确运气不错,在人生的上升通道中颇为顺畅。但其决定作用的,终究是要看做了多少事,而不是只看“艺术明星”的表象。
    从2002年起,高士明就参与策划了许多大型学术性展览,包括2002年到2004年的“亚洲当代艺术的迁徙与地缘政治”系列研究计划、2004年的“影像生存:第五届上海双年展”、2005年的“现实深处:中国当代艺术邀请展”……他还编辑出版了《视觉的思想》、《地之缘:亚洲当代艺术与地缘政治视觉报告》等学术著作。策展对于高士明来说,不仅仅是表述或再现,而是他的创造、塑型方式。他相信“行胜于言”,所以他有行动的力量,而不是空谈家。策展,是他直接在艺术史的书卷上进行的实践性写作。在文化多元的全球视野中,在艺术市场与体制的跨国运作中,日益频繁的交流使共享同一个文化资源成为可能。然而问题在于,面对这一知识资源的却是文化身份各不相同的价值主体。在多元文化语境中,所有的词语、概念都有着多重语境,总体叙述便变得不再可能。就像面对一面支离破碎的镜子,镜子中的影像是破碎的,由此构成了不同角度的不同镜像。所以这种破碎是一个不断解构、重组的过程,是多义图像建构的过程。高士明说,表象之镜已经破碎,这就是我们今天的文化境况。在这一境况中,主体是被不断重组的,传统是被追加的,现实是有待实现的,自我和他者都是破碎的,并随时互换着身份。这就是当代艺术所身处的文化境况。所以,高士明2002年以来的策展工作中始终存在着一条文化思考的脉络:中国当代艺术如何从后殖民话语中走出来,从单调的“泛政治—社会学”话语中脱身,摆脱身份政治和关系美学的思维惯性,从中国当代深层现实经验出发,激发起视觉创造的活力,重新构筑一种当代艺术与视觉文化的介入性的表述体系。
    在中国美院的大本营杭州,高士明一直是多媒体艺术、电子艺术实验艺术家中的重要人物之一。全球化和网络时代给社会生活造成的巨大变迁,也是高士明一直思考的问题。他说,过去人们饭后习惯于围坐在篝火旁闲话漫谈。现在,此时此刻,无数人却同时坐在电视机、电脑前,沐浴在永不间断地向着地球倾泻的庞大电波之中。同时发送给所有人而又非专门给任何人的影像,日夜堆积在我们的头脑里。确实,连绵的生活被传播拆解了,成了新闻、故事、剧本……传媒是一个闭合循环的系统,各种纠葛、矛盾都会得到解决。而日常生活却并不总是如此,它无法追溯起点也无法眺望终点,人们只能在这个过程中娱乐、思考、谋划、悲伤。他谈论这些现象的时候,当然是为了说明传媒给人类生活带来的变迁和塑造,是关于“拟真”广泛作用于真实生活时带来的“真”的危机。但这样的思考让高士明有时候显得道家,甚至是虚无主义。“人生在世,漂浮不定又短促无常,就如雪泥鸿爪”。而风起天末,雪落人间,鸿爪转瞬也会被大雪覆盖。中国美院出来的艺术家和策展人,身上似乎多多少少总会带着一点古典时代的情怀。
    “那是他生命中最柔弱也最坚强、最抒情也最幽暗的部分,是他寂寞敏感的触须。他借此超越自身,于是那便是一种意念,一次生活,一个永不重复却反复伤亡的梦”,在一个不知名的博客里,有人摘录了一段话。这是高士明曾经写下的对诗人里尔克的理解。

来源:[url]http://www.dfdaily.com

[沙发:1楼] 胡戈在下风 2007-11-22 16:06:41
我不懂你的意思
[板凳:2楼] guest 2007-11-23 04:48:27
这个早报记者写朱其真切点,更能激起同情
这个嘛  不如别贴
天天吃这个也不行
[地板:3楼] guest 2010-09-29 23:08:19
没有许江,他啥都不是啊
[4楼] guest 2010-09-30 10:26:37
小人都是靠溜须拍马得志的
[5楼] guest 2010-09-30 13:51:35
没意思
[6楼] xiaoni990 2010-09-30 15:28:14
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