第十七会场 展示
Session17: Display
第17 分会聚焦艺术史中的“展示”问题，“展示”作为现代艺术史学的重要命题，不只关乎艺术品的陈设与展览的历史，它更多的是让我们重新梳理展示本身在艺术史进程中的结构性作用，超越对于“观视关系”的现存论述，重新思考艺术在不同历史时期、不同文化语境中的社会能量。
The theme of Session 17, focuses on the issue of display throughout art history. Display, as the moment of art’s disclosure, is not to do solely with the placement of artworks, nor is it simply a “jouissance installation”; it presents us rather with a possibility to overcome the fetishism of museum and to transcend our limits of spectatorship.
国际主席
Michel Hochmann
米歇尔·霍克曼
Curriculum Vitae
个人简历
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法国高等研究实践学院历史和哲学系主任。曾任皮埃尔门德斯大学美术史系主任（1991-1993）、法国罗马学院美术史系主任（1993-1998）、皮埃尔门德斯大学教授（方向文艺复兴艺术）（1998-2000）、法国高等研究实践学院教授（方向16-17 世纪绘画史）（2000-）、东京学习院大学客座学者（2004）、日内瓦大学客座教授（2008.9-2009.6）、盖蒂学者（2010.10-12）、卡福斯卡里大学客座教授（2011.10-12）、早稻田大学客座学者（2012.3）、华盛顿国家美术馆视觉艺术研究中心高级访问研究员（2014.1-2）。近年来的著作包括：《威尼斯画家们的技法》、《安德烈·查斯蒂尔，一个艺术史家的方法与斗争》、《威尼斯与巴黎》、《科学与艺术中的光与视觉》等。
Dean of the Department of Historical and Philological Sciences at the Ecole pratique des hautes études. He has been Director of the Art History Department, Université Pierre Mendès France-Grenoble II (1991-1993); Head of the Art History Department, Académiede France à Rome (1993-1998); Professor of Renaissance Art, Université Pierre Mendès France, Grenoble II (1998-2000); Professor at the École pratique deshautes études, History of Italian Painting, XVIth-XVIIth century (2000-); Guest Scholar, University of Gakushuin, Tokyo (2004); Guest Professor, Université deGenève (2008.9-2009.6); Getty Scholar, Getty Research Institute, Los Angeles(2010.10-12); Guest Professor, Università di Ca’ Foscari, Venezia (2011.10-12);Guest Scholar, Waseda University, Tokyo (2012.3); Visiting Senior Fellow,Center for Advanced Studies in the Visual Art, National Gallery of Art,Washington(2014.1-2). His books published in recent years include: Colorito.La technique des peintres vénitiens à la Renaissance, Brepols, 2016 (to be shortly published); André Chastel, méthodes et combats d’ un historien de l’art, Paris, 2015; Venise & Paris, 2011; Lumière et visiondans les sciences et dans les arts, Genève, 2010.
中方主席
高士明
Gao Shiming
Curriculum Vitae
个人简历
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中国美术学院副院长，教授，博士生导师；近年来，他先后参与创建了中国美术学院展示文化研究中心、当代艺术与社会思想研究所、跨媒体艺术学院、视觉中国研究院以及亚洲思想界组织“亚际书院”，其研究领域涵盖当代艺术、社会思想以及策展实践。他策划了许多大型展览和学术计划，包括“与后殖民说再见：第三届广州三年展”（2008）、“巡回排演：第八届上海双年展”（2010）、“从西天到中土：印中社会思想对话”（2010-2011）、“变动中的世界，变动中的想象：亚洲思想界上海论坛”（2012）、“进程：首届西岸建筑与当代艺术双年展”（2013）、“亚洲社会思想运动报告：首届人间思想论坛”（2014）、“第三世界六十年：纪念万隆会议系列论坛”（杭州－科钦－北京－东京－香港－那霸）等。近年来出版的学术书籍包括：《后殖民知识状况：亚洲现代思想读本》（2012）、《三个艺术世界：中国现代史中的一百件艺术物》（2015）以及“人间思想”辑刊和丛书等。
Vice President of China Academy of Art, Professor, Doctoral Tutor; In recent years, he founded of the Display Culture Research Center, the Institute of Contemporary Art and Social Thoughts, the School of Inter-Media Art at China Academy of Art, the China Institute for Visual Studies and Inter-Asia School. His research covers contemporary art, curatorial practice and social thought. He curated a number of large-scale exhibitions and academic programs, including the Third Guangzhou Triennial of “Farewell to Post Colonialism” (2008), “Rehearsal: 8th Shanghai Biennale” (2010), “From the West to China: Social Thought Dialogue between China and India”(2010-2011), ”World in Transition Imagination in Flux Asian Circle of Thought 2012 Shanghai Forum”(2012), “Process: the West Bund in a Biennale of Architecture and Contemporary Art” (2013), “Report of the Asian Social Thought Movement: First Human Thought Forum” (2014), “Third World 60 Years: The 60 Anniversary of Bandung Conference Series Forum” (Hangzhou - Kochi - Beijing - Tokyo - Hong Kong - Naha) and etc. Academic books published in recent years include: Post-colonial state of knowledge: Asian Modern Thought Reader (2012), 3 Parallel Artworlds: 100Art Things from Chinese Modern History (2015) and “Renjian Thought Review” series and etc.
青年主席
张晨
Zhang Chen
Curriculum Vitae
个人简历
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中国美术学院当代艺术与社会思想研究所研究员。主要研究方向为展示文化研究。曾策划深圳关山月美术馆“荷问”展览，参与中国美术学院美术馆“天地绘心”展览策展团队等。翻译费顿焦点系列之《辛迪·雪曼》。
Research Fellow at the Contemporary Art and Social Thoughts at China Academy of Art. The main research direction is visual culture and exhibition. She is a curator of the exhibition “Lotus Thought” at Guanshanyue Museum in Shenzhen and participated in the exhibition curatorial teams of the exhibition “World Painted Heart” of China Academy of Art Museum and etc. Translated “Phaidon Focus” Series, Cindy Sherman.
|第一版块 媒介与感知|
Part 1 Media & Perception
发言嘉宾
Ivan Gaskell
伊万·加斯科尔
《彼埃·蒙德里安的裂痕》
Cracking Up with Piet Mondrian
Curriculum Vitae
个人简历
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纽约巴德研究生中心历史文化和博物馆研究方向的教授，致力于非文字的文化轨迹研究，并研究历史、艺术史、人类学和哲学等学科交叉领域的相关问题。除了撰写与研究17 世纪荷兰和佛兰芒绘画、美洲原住民篮艺、刚果纺织品等问题，他也研究其中潜在的哲学问题。他曾在哈佛大学负责教学工作，并于1991 年至2011 年期间策划举办了多次展览。在巴德研究生中心，加斯克尔负责的核心项目与实验展览和出版物有关。他独立撰写以及合作编辑了十二本书籍，包括《提森·博内米萨博物馆藏品：十七世纪荷兰和佛兰芒绘画》和《维米尔的赌注》的合作编辑。与洛雷尔·乌尔里希，萨拉·谢克纳和萨拉安妮·卡特合著有《有形的东西：通过对象创造历史》。他曾为多个学术期刊以及历史、艺术史和哲学相关论文集的编辑工作做出了突出贡献。他还参与当代艺术批评，定期参与《艺术美国》和《西部第86》 等期刊文章的撰写。自1995 年伊万·加斯克尔曾在欧洲艺术和古董博览会的早期绘画大师绘画评审委员会工作。
Ivan Gaskell is Professor of cultural history and museum studies at the Bard Graduate Center, New York City. Mobilizing non-written traces of the past, he addresses interdivs among history, art history, anthropology, and philosophy. As well as writing case studies ranging from seventeenth-century Dutch and Flemish paintings, Native American baskets, and Congo textiles, he works on underlying philosophical questions. He organized numerous exhibitions at Harvard University, where he taught and curated between 1991 and 2011. At the Bard Graduate Center, Gaskell heads the Focus Project, an ongoing series of experimental exhibitions and publications. He is the author, editor,or co-editor of twelve books, including The Thyssen-Bornemisza Collection: Seventeenth-century Dutch and Flemish Painting (1990), and Vermeer’s Wager (2000). His most recent book (with Laurel Ulrich, Sara Schechner, and Sarah Anne Carter) is Tangible Things: Making History through Objects (2015).He has contributed to numerous scholarly journals and edited volumes in history, art history, and philosophy. He also writes contemporary art criticism, contributing regularly to Art US and West 86th. Ivan Gaskell has served on the TEFAF Old Master Paintings Vetting Committee since 1995.
周诗岩
Zhou Shiyan
《姿态剧场，或重绘瓦尔堡的目的与方法》
Gesture-Theater, or to Diagrammatize Warburg’s Aims and Methods
Curriculum Vitae
个人简历
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中国美术学院艺术人文学院副教授，博士生导师，视觉文化系主任，主要学术兴趣在图像史学、媒介研究与批判理论，尤其关注20 世纪早期的先锋派艺术与空间实践，以及1960 年代以来的媒介批判理论。著有《建筑物与像：远程在场的影像逻辑》（2007），译著包括《包豪斯舞台》（2014）、《奥斯卡. 施莱默书信与日记》(2016)；近年代表文章有《重读< 理解媒介>：麦克卢汉的延伸》、《包豪斯理念的轴心之变》、《施莱默的现代性与最低限度的道德》等。
Zhou Shiyan is the Associate Professor, Doctoral Tutor and Dean of Visual Culture at Advanced School of Art & Humanities of China Academy of Art. She is mainly interested in the iconology, media studies and critical theory, especially focuses on early avant-garde art and space practice in the 20th century, as well as critical theory of the media since the1960s. She is the author of Building and image: Image Logic of Far Distance Presence(2007) and the translator of Bauhaus Stage(2014)and Oscar Schlemmer Letters and Diaries (2016). Zhou’s published articles include “Rereading Understanding Media: the Extension of McLuhan”, “ the Transformations and Trans-media in Bauhaus’Core ideas”,“Modernity of Schlemmer and Minimum Moral” and etc.
Anja Grebe
安雅·德雷贝
《展示展示物——现代博物馆具有历史意义的展示》
Displaying Displays. Historicing Displays in Modern Museums
Curriculum Vitae
个人简历
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奥地利多瑙河克雷姆斯大学文化历史以及博物馆藏品研究的教授。她在康茨坦茨湖大学研究艺术史、媒介史、历史以及法国文学，并于2000 年获得博士学位。在2012 年，凭《阿尔布雷西特·丢勒的声望》一文获得教授职称。她精通中世纪晚期地区还有现代早期的北欧艺术以及藏品的历史。她已经出版了多部关于中世纪艺术、丢勒、北部文艺复兴艺术、博物馆的历史和藏品的历史和理论以及中世纪和现代早期的视觉文化的专著和学术文章。
Anja Grebe is Professor of cultural history and museum and collection studies at the Danube University of Krems (Austria). She studied art history, media history, history, and French literature at the University of Constance, where she received her PhD in 2000. In 2012, she qualified as a professor (German habilitation) with a thesis on “Albrecht Dürer’s fame”(published in 2013). She specializes in Late Medieval and Early Modern art of Northern Europe and the history of collections. She has published numerous books and articles on medieval art, Albrecht Dürer and Northern Renaissance art, the history and theory of museums and collections, and the visual culture of the Middle Ages and Early Modern times.
Lis Jung Lu
尤丽
《石·纸·书：关于石刻的物质性、展示与感知的若干问题》
Stone · Paper · Writing. On the Issue of Materiality, Display, and Perception of Stone Inscriptions
Curriculum Vitae
个人简历
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杭州的独立学者和书法家，在中国美术学院研究书法艺术和篆刻。2015 年，她在汉斯·比亚汤姆森和罗伯特·哈里斯的指导下于苏黎世大学完成其博士论文。她自2009年在苏黎世大学执教。她在苏黎世里特贝格博物馆中德艺术研究院担任东亚艺术史及媒介艺术领域的翻译，同时是里特贝格博物馆书法工作坊的讲师，并于2010年策划了在瓦尔茨胡特县中国艺术节上的鲁大东个展。她参加了由中国美术学院于2010年、2015年举办的当代书法《书·非·书》大型展览。当时的专题论文涉及书法传统在北齐的起源，其调查问题包括这一时期石刻的物质性、制作和生产。她在北京故宫博物院从事书法媒介的研究。其艺术和学术的研究目前主要集中在石刻书法的媒介转化问题。
Lis Jung Lu is an independent scholar and calligrapher based in Hangzhou, China. She studied ten years calligraphy and seal-carving at the China Academy of Art (CAA) in Hangzhou (MA in 2002) and completed her dissertation at the University of Zurich under the supervision of Hans BjarneThomsen and Robert E. Harrist Jr. from Columbia University in 2015. She lectured at the University of Zurich (2009).She acted as interpreter in the fields of East Asian art history and media arts (Museum Rietberg Zurich, Chinesisch-Deutsche Kunstakademie), instructor of calligraphy workshops (Museum Rietberg Zurich), and curated the solo-exhibition of Lu Dadong in Waldshut (Culturescapes China 2010). She participated at the large-scale exhibitions of contemporary calligraphy “Shu Fei Shu" hosted by the China Academy of Art (2010,2015). Her dissertation dealt with the origins and the transmission of calligraphic traditions during the Northern Qi Dynasty investigating questions including the material conditions, making and reproduction of stone-engraved calligraphy during that time. She did research on the calligrapher and roid in the Palace Museum, Beijing (Orientations 46/4). Her both artistic and scholarly interest was currently focused on issues regarding the medial transformation of carved calligraphy and our associated ideas of writing on stone.
Friederike Schafer
弗里德里克·舍费尔
《作为来世的展示：通过表演式摄影重构和再现转瞬即逝的装置》
The Display as Afterlife. On the Reconstruction and Representation of Ephemeral Installations through Performative Photographs
Curriculum Vitae
个人简历
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弗里德里克·舍费尔是洪堡大学“形象知识设计”小组的研究员，在洪堡大学其相关的博士项目为“空间主张，论流量地域中艺术生产”。2015 年，她在柏林自由大学和西雅图华盛顿大学的艺术学院进行艺术史与北美社会学、文化学方面的研究，在纽约市的巴德研究生中心度过了一个研究学期。2009 年至2013 年间，她就职于位于柏林的KW 当代艺术研究所，着手进行独立的欧洲项目“重构女权主义——一个表演档案”以及相关文献的整理，并合作策划了跨学科的研究和展览项目“集群原则，艺术中的表演与政治性集群”。
Friederike Schäferis a Fellow at the Cluster of Excellence of Humboldt-Universität zu Berlin “Image Knowledge Gestaltung”,where she is working on her PhD project “Claiming Spaces. On the Artistic Production of Places in Flux”. She studied art history and North American studies (with a focus on sociology and cultural studies) at Freie Universität Berlin and the School of Art, University of Washington, Seattle, and spent a research semester at Bard Graduate Center, New York City, in 2015. Between 2009 and 2013, she worked for the KW Institute for Contemporary Art, Berlin, on the independent European project “Re-Act.Feminism - A Performing Archive”, and for dOCUMENTA (13), and co-curated the interdisciplinary research and exhibition project “The Swarm Principle. Performative and Political Swarms in the Arts” (2012 at NGBK, Berlin and 2013 at Kunstverein Harburger Bahnhof, Hamburg).
