《艺术论坛》批评奖(Artforum International Magazine)
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[楼主] oui 2010-07-01 00:00:00
《艺术论坛》批评奖
 Artforum Critical Writing Award
艺术论坛

 Artforum Critical Writing Award


(scroll down for English)

《艺术论坛》(Artforum International Magazine)将荣幸地的举办《艺术论坛》批评奖,该奖项旨在为青年学子及批评家提供一个用中文展示写作才华的空间。征稿日期从2010年7月1日开始,至10月31日止。

入选文章应能够对艺术及观念进行具有深度的分析,在展示写作能力的同时,充分表现作者对主题的批判性思考。评审将主要考察作者是否能够较好地在理论及历史框架内把握所选题目,并提出独立见解与分析。

本奖的评委包括中国当代艺术领域中的知名批评家、策展人与学者。他们都推动了中国当代批评话语的发展,并热心于提高中文艺术批评的整体水平。 评委名单见此页。

《艺术论坛》杂志及其中文平台artforum.com.cn希望通过这个奖项发掘新生力量,为年轻一代进行批评写作提供动力,也为他们展示自身想法搭建一个独立的平台。

征文范围:艺术家、艺术作品及艺术展览活动(或策展方案)均可作为写作对象。在选择写作对象时,请选择具有一定知名度的艺术家与公开展出的作品及展览活动,并应以论述者亲眼所见或具有亲身感受的论述对象为宜。写作对象的形式包括:绘画、雕塑、摄影、录像、装置、行为、新媒体。字数要求:6000至10000个汉字之间,评委将以文章质量而非长度作为评判标准。

• 所有“当代”艺术作品的创作年代及展览的举办时间不得早于2000年。
• 评论的艺术作品不限国籍,但必须是作者亲眼所见,这一点需在文章中有所交待。
• 只在书籍或网络上看过的作品不能成为主要写作对象,但可以作为参考在文中出现。
奖励:一等奖:人民币10000元;二等奖:人民币5000元;三等奖:人民币3000元
所有获奖作品都将由《艺术论坛》翻译成英文并且发表。获优秀奖的文章也将被列入出版计划。

参赛资格:• 参赛者须生于1980年1月1日之后。所有artforum.com.cn撰稿人及工作人员不得参赛。
• 投稿者不限国籍,所有文章原文须为中文。
• 曾发表过的文章是不合要求的。

截稿时间:北京时间2010年10月31日17:00时(以投寄时当地邮戳上的日期为准)||

递交材料需包括:• 填写完整的申请表
• 文章打印稿两份,页码
• 摘要打印稿一份(不得多于200个汉字)
文稿要求:12号字体、双倍行距、简繁不限;提供数字版本(刻碟或发送至award@artforum.com.cn)
邮寄地址:
《艺术论坛》批评奖,转梁舒涵(收)
中国北京市朝阳区花家地南街8号,中央美术学院 邮编: 100102
电话: +86 15101573012
详情请通过电子邮件联系:award@artforum.com.cn

# # #

Artforum International Magazine is pleased to announce the Artforum Critical Writing Award. In an open call for submissions beginning this July 1, 2010, students and young critics are invited to exercise their writing skills in the Chinese language, and to be considered for a prize for excellence.

Successful essays will take an analytical approach to art and ideas, and they should challenge the author’s writing abilities as they engage with their subjects. Submissions will be judged on their mastery of the subject matter within a theoretical and historical framework, as well as on their demonstration of an individual perspective and analysis.

The judges’ panel consists of leading critics, curators, and academics in the field of contemporary art within China. Each has been invited for their contribution to the development of critical discourse and for their desire to elevate the art of critical analysis in the Chinese language. A complete list of jurists is listed here.

Through hosting the Artforum Critical Writing Award, Artforum International Magazine, together with its Chinese language platform, Artforum.com.cn, aims to discover new voices by providing both the motivation to exercise critical writing skills as well as an independent forum in which to highlight those ideas.

Scope of essays:Writers are asked to consider, interpret, and place in context a work of contemporary art that they have personally seen on view in any museum or gallery exhibition, or legitimate art space. Essays may also discuss the broader practice of an artist and their exhibition history, or examine the curatorial approach or practice demonstrated in a contemporary art exhibition through the explication of a critical thesis. The following mediums are eligible: painting, sculpture, photography, video, installation, performance, new media. Essays should be between 6000 and 10,000 characters; essays are judged on quality of content, not on length.

• All “contemporary” art works and exhibitions must be dated from no earlier than 2000.
• Artworks of any nationality are permitted, provided the author has personally seen the artwork or exhibition in an appropriate setting (please address this in your text).
• Artworks viewed only in books or online are not acceptable as the primary topics of critical essays, although they can be cited as reference.
Awards schedule:First place: 10,000 RMB
Second place: 5,000 RMB
Third place: 3,000 RMB
• All prize-winning essays will be translated into English by Artforum for publication online. All Honorable Mentions will also be scheduled for publication online.
Eligibility:• Applicants must be born after Jan 1, 1980. All artforum.com.cn contributors are ineligible.
• Submissions welcome from China, Hong Kong, Taiwan and internationally; all texts must be originally written in the Chinese language.
• Previously published essays are ineligible.
Dates:All submissions must be received on or before 5pm, October 31, 2010. Early submissions are preferred.

All submissions must include:• One printed copy of the completed application form
• Two printed copies of your essay
• A printed ≤ 200 character abstract
• All texts must be in 12 pt font, double-spaced, traditional or simplified characters acceptable
• Your essay in digital format (on disc, or sent to award@artforum.com.cn)
Send submissions to:Artforum Critical Writing Award, c/o Liang Shuhan
Central Academy of Fine Arts
No.8 Huajiadi Nanjie,
Chaoyang District, Beijing, 100102
China
tel: +86 15101573012

For More Information contact award@artforum.com.cn

评委名单 List of Judges

范迪安 (FAN Di’an)曾任中央美术学院副院长、教授,现任中国美术馆馆长。策划的重要展览有:“都市营造:上海双年展”(2002)和第50届、51届威尼斯双年展中国国家馆。并参与2008年北京奥运开幕式大型表演方案策划。


Former Vice-President of the Central Academy of Fine Arts, Fan Di’an is currently the director of the National Museum of China. He curated the China Pavilions at the 50th and 51st Venice Biennales and the Shanghai Biennial’s “Rehearsal” (2010) and “Urban Planning” (2002). Fan also participated in the planning for the Beijing 2008 Olympic opening ceremonies.


冯博一 (FENG Boyi)独立策展人,美术评论家,1988年至今供职于中国美术家协会《美术家通讯》编辑部。曾策划的主要展览有:“生存痕迹——98中国当代艺术内部观摩展” (2000, 北京)、“不合作方式”(2000,上海)、“首届广州当代艺术三年展——重新解读:中国实验艺术十年”(2002)。


Independent curator and critic Feng Boyi is a member of the China Artists’ Association and editor of the organization’s “Art Bulletin” since 1988. His exhibitions include “Traces of Existence” (Beijing, 1998) , “Fuck Off” (with Ai Weiwei, Shanghai, 2000) , and the inaugural Guangzhou Triennial, “Re-interpreting: Ten Years of Chinese Experimental Art” (2002).


高士明 (GAO Shiming)中国美术学院艺术人文学院副院长,近年他担任了“巡回排演:第八届上海双年展”(2010)、“与后殖民说再见:第三届广州三年展”(2008)等重要国际大展的主策展人。高士明近期出版的专著为《镜子与面具:关于现实与实在的视觉研究》(2009)。


Gao Shiming is Deputy Director of the China Art Academy’s School of Art and Humanities. He has also curated large-scale exhibitions, including “Farewell to Post-colonialism: the Third Guangzhou Triennial” (2008) and “Rehearsal: the Eighth Shanghai Biennial” (2010). Gao’s latest book, Mask and Mirror: Visual Studies on the Real and Reality, was published in 2009 by China Art Academy Press.


龚彦 (GONG Yan)艺术家、策展人。2005年于复旦大学上海视觉艺术学院创建“零时艺术中心”,现任《艺术世界》杂志主编。龚彦曾负责“普通建筑”第47届威尼斯建筑双年展中国馆、“身体·媒体”国际互动艺术节、2010上海世博会永久性雕塑和未来馆的策划工作。


Artist and curator Gong Yan established the 0 Art Center at Fudan University’s Shanghai Institute of Visual Arts in 2005. She has also been chief editor of contemporary art magazine Art World since 2009. Curatorial work includes the China Pavilion at the 47th Venice Architecture Biennale, the 2008 Shanghai “Body Media” Arts Festival, and the Future Pavilion at the 2010 Shanghai World Expo.


黄专 (HUANG Zhuan)现为广州美术学院副教授和何香凝美术馆OCT当代艺术中心主任。近期策划的展览有“重返家园:中国实验水墨展”(旧金山,1995), “重新解读:首届广州三年展”(昆士兰,2002)。他的第一部批评文集《艺术世界中的思想与行动》(2010)收录了作者自20世纪80年代末以来对中国当代艺术的评论文章。


A professor at the Guangdong Academy of Art and Director of the Shenzhen OCT Contemporary Art Terminal, Huang Zhuan’s curatorial projects include “Returning Home: Chinese Experimental Ink Paintings” (San Francisco Museum of Modern Art, 1995) and the China Pavilion at the Third Asia Pacific Triennial of Contemporary Art (Queensland Art Gallery, 1999). A collection of Huang’s art criticism since the 1980s, Thought and Action in the Art World, was published in January 2010 by Peking University Press.


霍少霞 (Silvia FOK)学者,主要研究方向为当代中国艺术中的行为艺术与身体处境,出版作品包括:《星星艺术家–中国当代艺术的先锋1979-2000》(2007)、《行为艺术在中国:场所与身体》(2010)。2002-2004年参加了香港艺术资料库项目 的计划统筹工作。曾在香港艺术学院教授现当代艺术史课程,担任香港大学艺术学系、香港中文大学文化及宗教研究系兼职教师,现任香港理工大学通识教育中心艺术讲师。


A scholar whose main research interest is modern and contemporary Chinese art, Silvia Fok has published two monographs, The Stars Artists: Pioneers of Contemporary Chinese Art 1979–2000 (Artist Publishing, 2007) and Performance Art in China: Site and the Body (Artist Publishing, 2010). She was project coordinator for the Hong Kong Art Archive from 2002–2004 and has taught courses on modern and contemporary art history at the Hong Kong Art School, Hong Kong University, and the Chinese University of Hong Kong. Fok is currently Lecturer in Art at the Hong Kong Polytechnic University.


仇浩然 (Hallam CHOW)艺术赞助人,资深律师,伟凯律师事务所合伙人。他现任北京大学法学院客座教授、美国哥伦比亚大学公益学院院长顾问、重庆美术馆顾问、四川美术学院国际艺术交流顾问、大足县玉龙镇仇浩然中心学校荣誉校长。他创建了北京大学法学院奖学金及助学金;在中国美术学院设立实验艺术讲座系列,并为那创办了浩然艺术与教育基金会、罗中立奖学金。


Philanthropist Hallam Chow is a partner at Hong Kong law firm White & Case and a guest professor at Beijing University. He is also on the Dean’s Advisory Council at the Columbia University School of Social Work and is a consultant for the Chongqing Art Museum and the Sichuan Academy of Fine Arts. He is honorary president of the Yulong Village Hallam Chow Learning Center and has established scholarships at the Beijing University Law School, and, in the arts, created the Hallam Chow Art and Education Foundation and the Luo Zhongli Scholarship. Chow also sponsors the Experimental Art Lecture Series at the China Academy of Fine Arts.


田霏宇 (Philip TINARI)《艺术论坛》特约编辑,现任《艺术界》杂志主编、巴塞尔艺术博览会中国顾问、中央美术学院批评与理论助教。他于2007年创立研究与翻译中国当代艺术的编辑工作室和出版机构“话坊ODE”。出版作品包括:《中国艺术家:当代工作室的内部》(泰晤士哈德森出版社,2007)、《汉斯·尤利斯·奥布里斯特:来自中国的访问》(2009)。


Chief editor of Leap magazine and contributing editor of Artforum, Philip Tinari is also China Advisor to Art Basel and an assistant professor of art criticism at the Central Academy of Fine Arts. In 2007, he founded the Office for Discourse Engineering, a studio focused on research and translation related to Chinese contemporary art. His publications include Artists in China: Inside the Contemporary Studio (Thames and Hudson, 2007) and Hans Ulrich Obrist: The China Interviews (Ram Publications/ODE, 2009).


巫鸿 (WU Hung)芝加哥大学教授,主持芝加哥大学亚洲艺术的教学和研究项目,2000年建立东亚艺术研究中心并成为中心主任,兼任该校斯马特美术馆顾问策展人。巫鸿主要研究中国古代美术史和考古学,同时也对当代艺术做出了大量的工作,他的著作包括:《中国古代美术和建筑中的纪念碑性》(1995)、《重屏:中国绘画的媒介和表现》(1996)、《瞬间:90年代末的中国实验艺术》(1998)等。


Wu Hung is University of Chicago Professor of Art History and East Asian Languages and Civilizations. He is also Director of the Center for the Art of East Asia and a consulting curator for the Smart Museum of Art at the University of Chicago. Wu specializes in ancient Chinese art, but curates and writes extensively on contemporary art in China. Publications include Monumentality in Early Chinese Art (Stanford University Press, 1995), Transience: Chinese Experimental Art at the End of the Twentieth Century (University of Chigaco Press, 1999), and Remaking Beijing: Tiananmen Square and the Creation of a Political Space (University of Chigaco Press, 2005).


徐文瑞 (Manray XU)独立策展人、批评家,现居台北与柏林。近期策划展览包括:“2000台北国际双年展:无法无天”。徐文瑞曾任第四十九届威尼斯双年展国际评审,以及第七届伊斯坦布尔双年展国际评审。 2010 年上海国际艺术博览会国际当代艺术展联合策展人。


An independent curator and critic working between Taipei and Berlin, Manray Xu was curator of the 2000 Taipei Biennial, titled “The Sky Is the Limit,” and served on the juries for the 49th Venice Biennale and the 7th Istanbul Biennial. He is co-curating a thematic exhibition for the 2010 ShContemporary fair that investigates conflicting ideas of artistic and commercial value.


尹吉男 (YIN Jinan)艺术史学者、当代艺术评论家、中国古代书画鉴定专家,现任中央美术学院人文学院院长,中国美术史教授。1990年开始发表关于中国大陆新生代艺术的评论文章,并在1991年参与策划“新生代艺术展”。他长期为《读书》杂志撰写专栏,发表艺术评论,文章结集为《独自叩门》(1993)以及《后娘主义》(2002)。


Dean of the Central Academy of Fine Art’s School of the Humanities, Yin Jinan is an art historian, critic, and specialist in ancient painting and calligraphy appraisal. In 1991, he curated the “New Generation Painters” exhibition at the China National Museum, and his longstanding popular art criticism column in Dushu magazine resulted in two collections of essays on contemporary art, Knocking at the Door Alone (Sanlian Books, 1993) and Post-Motherism (Sanlian Books, 2002).


郑慧华 (Amy CHENG)艺术评论家,独立策展人,生活于台北。自1995年开始涉足艺术评论领域,2000年起任典藏《今艺术》杂志的加拿大特约作者,现为该杂志特约主笔。近期策划展览包括“台北双年展:在乎现实吗?”(2004)、“疆界”(台湾,2006),2009年成立“艺术与社会”资料库网站并出版《艺术与社会:当代艺术家专文与访谈》丛书,2010年于台北成立“立方计画空间”,这里成为国际性文化研究与交流的跨域平台。


Amy Cheng is an Independent art critic and curator based in Taipei. She has been writing for Artco magazine since 2000 and her recent curatorial projects include the 2004 Taipei Biennial, titled “Do You Believe in Reality?,” and “Altered States” at the Taiwan Fine Arts Museum in 2006. In 2009, Cheng established the “Art and Society” archival website and simultaneously published Art and Society: Collected Writings and Interviews with Contemporary Artists (Taiwan Fine Arts Museum Press). In 2010, she founded the Cube Project Space in Taipei, an international platform for art engaged in cultural research and exchange.


安静 (Lee AMBROZY)现任《艺术论坛》中文网 主编,并在中央美术学院人文学院艺术史论系从事20世纪中国艺术史的研究。她第一部编译作品集为《艾未未的博客》,该书将于2011年3月由麻省理工学院出版社出版。


Lee Ambrozy is editor of Artforum’s Chinese website. A graduate student at Beijing’s Central Academy of Fine Arts, her thesis focuses on 20th century Chinese art. Ambrozy’s first major work of translation and editing, Ai Weiwei’s Blog, is forthcoming from MIT Press (March 2011).



[沙发:1楼] guest 2010-07-10 04:17:32
叫这些评委先写一篇像样子的先
[板凳:2楼] guest 2010-07-10 05:44:54
参赛者须生于1980年1月1日之后,艺术圈真成演艺圈了。
[地板:3楼] guest 2010-07-10 13:28:25
评委的质量太差,还评别人。哈哈
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