The Second CAFAM Biennale—The Invisible Hand: Curating as Gesture

  • Publishing house:China Youth Publishing Group
  • Chief Editor:Wang Huangsheng
  • Publication date:2014-07
  • Size:16开
  • Price:480.00
  • ISBN:9787515325460

Summary

Built upon the platform of CAFA Art Museum, the CAFAM Biennale is organized by the CAFA Art Museum. The first show was held from September to November in 2011 at the CAFAM, winning widespread praise. Upholding the academic orientation of internationality, contemporariness, and perspectiveness, the Second CAFAM Biennale is themed with “The Invisible Hand: Curating as Gesture” and discusses the spirit, status quo and characters of the development and experiment of contemporary culture and art. The Second CAFAM Biennale adopts innovative curating approaches and plays a unique and important role in contemporary curating events based on the establishment and development of the major of curation in art schools. This CAFAM Biennale invites professional teachers of curation department as academic advisors from famous international art schools, and students graduated from the major of curation with outstanding curation achievements as curators, building up a curator team with implications for innovation and teaching practice and experiment to make plans for, organize and implement this year’s CAFAM Biennale. According to their own academic interests, these recommended curators present art projects and artists they have been following, to render relevance between the practice of curation and art education and the ecology of contemporary art, and to promote the practice of curation and art both vertically and horizontally. Due to that this Biennale is a cross-region, cross-culture, horizontal curating practice, we lay greater emphasis on the transcendentality of issues and topics presented by curators, which means these performances of an art exhibition should go beyond the current scenario, specific categories, and a single discipline. At the same time, we also stress that it should not be an isolated exhibition plan and implementation practice, but an academic research that goes beyond curation. It reflects history in a vertical manner and bridges different disciplines horizontally, demonstrating the focus and uniqueness of contemporary international society with an artistic means. Moreover, international cooperation is an important feature of this year’s Biennale. Therefore, the translation or interpretation of concepts, works, and languages is also one of our concerns. Linguistic communication is always a cultural event. As long as there are cultural revolution and development, the textual translation will be concerned, underpinned by the transfer, transmission, and interpretation of cultural concepts. The method and target that goes beyond experience, curation, and translation intend to emphasize and reinforce, via a new type of biennale, the trend of comprehensive knowledge and art ecology of contemporary curation enabled by school education and social practice.  

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冷风起,冬意浓! 这个冬日的北京刻意显得不那么的温暖,不禁想逃离这荒凉几日,寻一处刺眼的阳光,重新洗礼那或许已经麻木的感官。 选择去吴哥,因为太想亲自去感受一下这世界上最重要的文明古迹,它将中国长城的雄伟、泰姬陵的细致繁复和金字塔的对称之美全部完美的融为一体。唯有置身于吴哥王城,在“高棉微笑”的注视下,去凝望这曾经充满战乱、杀戮,到现今的和平和安详。仿佛瞬间被抽离出这世间之外,画面被定格静止了一般,转过身即是微笑。 版权归作者所有,任何形式转载请联系作者。 关于吴哥,我想大约是我不必多费口舌去解释每一处寺院的由来和历史,每一个来到这里的人,多数都会花上个三五日去感受吴哥雄伟壮观的寺院建筑群。 这里捡几个重要而美的分享。 冷风起,冬意浓! 这个冬日的北京刻意显得不那么的温暖,不禁想逃离这荒凉几日,寻一处刺眼的阳光,重新洗礼那或许已经麻木的感官。 选择去吴哥,因为太想亲自去感受一下这世界上最重要的文明古迹,它将中国长城的雄伟、泰姬陵的细致繁复和金字塔的对称之美全部完美的融为一体。唯有置身于吴哥王城,在“高棉微笑”的注视下,去凝望这曾经充满战乱、杀戮,到现今的和平和安详。仿佛瞬间被抽离出这世间之外,画面被定格静止了一般,转过身即是微笑。 版权归作者所有,任何形式转载请联系作者。 关于吴哥,我想大约是我不必多费口舌去解释每一处寺院的由来和历史,每一个来到这里的人,多数都会花上个三五日去感受吴哥雄伟壮观的寺院建筑群。 这里捡几个重要而美的分享。 冷风起,冬意浓! 这个冬日的北京刻意显得不那么的温暖,不禁想逃离这荒凉几日,寻一处刺眼的阳光,重新洗礼那或许已经麻木的感官。 选择去吴哥,因为太想亲自去感受一下这世界上最重要的文明古迹,它将中国长城的雄伟、泰姬陵的细致繁复和金字塔的对称之美全部完美的融为一体。唯有置身于吴哥王城,在“高棉微笑”的注视下,去凝望这曾经充满战乱、杀戮,到现今的和平和安详。仿佛瞬间被抽离出这世间之外,画面被定格静止了一般,转过身即是微笑。 版权归作者所有,任何形式转载请联系作者。 关于吴哥,我想大约是我不必多费口舌去解释每一处寺院的由来和历史,每一个来到这里的人,多数都会花上个三五日去感受吴哥雄伟壮观的寺院建筑群。 这里捡几个重要而美的分享。 冷风起,冬意浓! 这个冬日的北京刻意显得不那么的温暖,不禁想逃离这荒凉几日,寻一处刺眼的阳光,重新洗礼那或许已经麻木的感官。 选择去吴哥,因为太想亲自去感受一下这世界上最重要的文明古迹,它将中国长城的雄伟、泰姬陵的细致繁复和金字塔的对称之美全部完美的融为一体。唯有置身于吴哥王城,在“高棉微笑”的注视下,去凝望这曾经充满战乱、杀戮,到现今的和平和安详。仿佛瞬间被抽离出这世间之外,画面被定格静止了一般,转过身即是微笑。 版权归作者所有,任何形式转载请联系作者。 关于吴哥,我想大约是我不必多费口舌去解释每一处寺院的由来和历史,每一个来到这里的人,多数都会花上个三五日去感受吴哥雄伟壮观的寺院建筑群。 这里捡几个重要而美的分享。
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