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xindanwei chitchat edition 9: From Marilyn to Mao-the formation of contemporary transnational art
Time: 4:30-6:30pm Friday June, 11th
Cost:free
Host:Isaac Leung
Abstract
In “The Invention of Art: A Cultural History”, philosopher Larry Shiner explains that the ‘invention’ of ‘fine art’ was connected to the rise of the art market. In his book he separates the cultural history of art into two periods: the patronage period and the art market period. The emergence of the art market in the U.S. and Europe during the 70s and 80s was shaped by regime changes in capitalism and the rise of cultural industries. In recent years, the commoditization of art has entered a “global” age, new art markets emerge in which international artists, curators, museums and biennales become global players in the field of “international contemporary art”. The Western art centers such as New York and London have been decentralized and face diversification from various up- and-coming art markets around the globe. This phenomenon has been further intensified by the emergence of the contemporary Chinese art market as a major force in the global cultural economy. By choosing contemporary Chinese art as the focus of study, my research will examine the formation of the contemporary art market under the increasingly interconnected and integrated notion of the global and the local cultural economy. The emerging art clusters in Beijing and Shanghai will be studied with an eye towards the interdependency of production, consumption and distribution of art within these culturally hybridized networks. By reconsidering the earlier studies of cultural globalization, different constituencies within the interconnected localities of the contemporary Chinese art market will be examined in the context of transnational communication, the flow of art programs and the global circulation and consumption of artistic products.
Isaac Leung
Leung is a practicing artist, curator and researcher who received a Honorary Fellowship of Bachelor of Fine Arts degree at the New Media Art Department of the School of the Art Institute of Chicago and Central Saint Martins College of Art and Design. His passion in exploring issues concerning contemporary art began during his time in college. During 1998-2008, his artworks were exhibited in over 30 venues across the globe. His projects were featured on National Public Radio (USA), and in Agence France-Presse (France), Chicago Tribune (USA), NY Arts Magazine (USA), Chicago Readers (USA) and The South China Morning Post (Hong Kong).
In 2002, Leung was appointed as the Program Director of the media art organization Videotage. During the past years, he has initiated and participated in projects that included exhibitions, workshops, lectures, publications, online projects and symposia such as, 40 Years of Video Art in Germany and Hong Kong, (Hong Kong and Germany), Boderline Film Festival (Beijing), Venice Biennale International Architecture Exhibition (Venice, Hong Kong), Perpetual Art Machine (New York), “97+10: HK Hand Baggage” (Shanghai), ISEA Festival (San Jose), Microwave International Media Art Festival (Hong Kong). Apart from the video documentary that was awarded by the Hong Kong Arts Development Council, his current interdisciplinary project “Sex Machines” is being actualized as a Mphil academic thesis at the Lingnan University. Throughout the years, he has been invited to speak at different conferences such as, Arse Elektronika (San Francisco), Microwave International Media Arts Festival (Hong Kong), Hong Kong / Hollywood at the Borders: Alternative Perspectives, Alternative Cinemas (Hong Kong), etc. He’s currently a PhD researcher at the School of Creative Media, City University of Hong Kong.
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[lang_cn]
新单位茶话会第9期: 从玛丽莲梦露到毛泽东-探索当代艺术市场的形成，和渐趋频繁的本土和全球经济文化融合下的相互关系
时间:6月11日（周五）16:30—18:30
费用: 免费
主持：Isaac Leung
摘要
哲学家 Larry Shiner在《The Invention of Art: A Cultural History》中解释，「艺术」的「发明」往往与艺术市场的兴 起有关。他在书中把艺术的文化历史分为二个时期﹕艺术赞助时期以及艺术市场时期。在上世纪70至80年代，资本主义制度的 改变与文化产业的兴起，导致欧美艺术市场的出现及定型。及至近年，艺术商品化进入了一个全球化的纪元，当国际艺术家、策展人、博 物馆与双年展皆成为「当代国际艺术」的全球参与者，新的艺术市场型式便出现了。面对全球四方八面的新兴艺术市场，使西方艺术中心如纽 约及伦敦变得分散和多样化。中国当代艺术市场崛起，成为全球文化经济一大主力，让这现象更加剧了。以当代中国艺术为研究重点，本 研究旨在探讨在全球与本土的文化经济日渐紧密连系及愈发综合之时，当代艺术市场形成的成因。着眼点首先会放在北京及上海涌现的艺术 簇，研究它们在文化混杂的网络中，在艺术生产、艺术消费以及艺术分锁三方面的独立性。然后，透过重新钻研有关于文化全球化 （cultural globalization）的学术研究，将以跨国沟通的背景、艺 术节目的流程与艺术产物的全球性的流动与消费，来探讨中国当代艺术市场内环环相扣的构成因素。
梁学彬介绍:
梁是一名艺术家，策展人及研究学者，获颁芝加哥艺术学院及中央圣马汀艺术设计学院的新媒体艺术系美术学 位荣誉院士。他在大学培养出探索当代艺术的热忱，1998年至2008年间，他的作品见于逾30多个世界各地的场馆。他的作品亦曾见于全国公共广播电台（美国）， 法新社（法国），芝加哥论坛报（美国），纽约艺术杂志（美国） ，芝加哥读者（美国）及南华早报（香港）。
2002年，梁氏被委任为媒体艺术机构“录映太奇”的节目总监。在任其间，他曾发起并参与多个计划项目，包括展览，工作 坊，讲座，出版物，网络项目及专题讨论会，如40录像艺术在德国和香港年香港（香港和德国），边缘电影节（北京），威尼斯双年展国际建筑展（威 尼斯，香港），永久的艺术机（纽约），“97 + 10 ：香港手提行李“（上海），ISEA节（圣何塞），微波国际媒体艺术节（香港）。除了获香港艺术发展 局资助嘉许的纪录片外，他刚在岭南大学完成其关于”性机器“的哲学硕士生论文。过去多年，他曾被邀在多个国际会议演讲，例如众相处，电子学（三藩市），微波国际媒体艺术节（香 港），香港/在边界好莱坞：另类视角，另类电影院（香港）等。梁 氏目前是香港城市大学创意媒体学院的博士研究生。
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