动态 动态
发布时间 2016年09月07日
来源 中国美术学院美术馆 微信公众号


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.




|第二版块 展示与政治|

Part 2 Display & Politics




Jeffrey Collins 



From Ditch to Nitch: Putting the Muses on Display


Curriculum Vitae


纽约巴德研究生中心学术课程的前任主席和17-18 世纪艺术和文化方向的教授。其在耶鲁大学和剑桥大学克莱尔学院接受教育后成为罗马美国学院的研究员和前盖蒂学者。他曾获得来自安德鲁·梅隆、富布赖特和格拉迪斯·克利布·德尔马斯基金会以及美国哲学学会的研究奖金和奖学金。他是《十八世纪罗马的教皇与政治:庇护六世和艺术》的作者和《佩德罗·弗里德伯格》的主要编撰者,并出版有《设计史:装饰艺术和物质文化,1400 年到2000 年》,即将出版多卷《家具的文化史研究》。其他出版物包括绘画、雕塑、建筑、城市规划、书籍插图、家具和电影的研究。他对收集和展示的历史尤其感兴趣,他最近的一篇文章研究了18 世纪博洛尼亚蒙地区的石膏的收集和展示。目前的项目致力于梵蒂冈博物馆收藏的18 世纪70 年代和80 年代的古代雕塑研究,其研究范围涉及考古学、古物研究和博物馆学。


Jeffrey Collins is Professor of seventeenth- and eighteenth-century art and culture and former Chair of Academic Programs at Bard Graduate Center, New York City. Educated at Yale University and at Clare College, Cambridge, Collins is a Fellow of the American Academy in Rome and a past Getty Scholar. He has received grants and fellowships from the Andrew W. Mellon, Fulbright, and Gladys Krieble Delmas Foundations and from the American Philosophical Society. He is the author of Papacyand Politics in Eighteenth-Century Rome: Pius VI and the Arts (Cambridge,2004) and a principal contributor to Pedro Friedeberg (Mexico City:Trilce, 2009); History of Design: Decorative Arts and Material Culture1400-2000 (Yale, 2013); and the multivolume Cultural History of Furniture (Bloomsbury, forthcoming). Other publications include studies on painting, sculpture, architecture, urbanism, book illustration, furniture, and film, with a particularly interest in the history of collecting and display. His most recent essay investigates the collection and display of plaster casts in eighteenth-century Bologna, and his current project traces the interdiv of archaeology, antiquarianism, and museology in creating the Vatican museum of ancient sculpture in the 1770s and 80s.




Gao Chu


“Display” and “Evoke”: Wartime Photography in China


Curriculum Vitae


中国美术学院中国摄影文献研究所研究员、主任。2008 年至今整理并研究1930 年代至1980 年代摄影史的摄影家个案,并写作这一时期的摄影史。2011 年起主持“海外藏中国影像”和“中国革命的视觉档案”两个文献与研究计划的展览与出版。最近出版的成果包含《最前线:中国共产党抗战图像志》、《大卫·柯鲁克镜头中的中国1938-1948》。

Gao Chu is the Researcher and Director of Social Archive of Chinese Photography Institute at the China Academy of Art. Since 2008, he has organized and has investigated case studies of photographers in the history of photography from the 1930s to the 1980s and has written the history of this period. Since 2011, he has organized the exhibitions and publishing of documents and research programs of Overseas Chinese Tibetan Image and Chinese Revolutionary Visual Archives. Recently he published Forefront: The Communist Party of China During the War Against Japanese Aggression (Bilingual edition,Jincheng Press, September 2015), China under David Crooks lens, 1938-1948 (National Photographic Art Publishing Press, January 2016).



Amy Buono



Jail-Time: Rio de Janeiro’s Civil Police Museum and Displays of State Power


Curriculum Vitae


里约热内卢国立大学艺术史和艺术理论系的客座研究员,致力于研究巴西原住民和非洲-大西洋世界的视觉和物质文化。她的研究主要有三条路线:对于艺术制度史的兴趣;科技化的生产对于艺术的社会功效的决定作用;追溯艺术物品的礼节性和修辞方法的问题。从方法论上,她的学术研究属于学科交叉领域,包括艺术史、人类学、科学研究以及博物馆历史理论。艾米的研究发表在很多学术期刊和书籍中,包括《奥连蒂-欧美国家》、《跨文化》、《色彩的材料性》、《巴西和法国的文化交流》、《图像的逃脱》、《盖蒂研究期刊》以及《美术史学》。博诺即将出版两本书:与斯文·杜普雷合作编辑的《文艺复兴时期色彩的文化历史》,以及《现代早期巴西-大西洋罗卡斯地区图皮南巴(译者注:巴西海岸森林地带已经绝种的图皮印第安人部族) 毛皮工艺》,主要研究图皮南巴的物质文化和早期现代欧洲对于视觉文化、科学、宗教以及政治相关论述的联系性。


Amy Buono is a Visiting Researcher in the Department of Art History & Theory at the State University of Rio de Janeiro, where she specializes in the visual and material cultures of indigenous Braziland the Afro-Atlantic world. Three threads weave together her broader research agenda: an interest in the institutional histories of art; an understanding of the technologies of production as crucial to art’s social efficacy; and a commitment to tracing the ritual and rhetorical deployment or art objects. Methodologically, her scholarship intersects with several disciplines, including art history, anthropology, science studies, and museum history and theory. Amy’s research has appeared as chapters and articles in: Orientes-Ocidentes(UNAM); Crossing Cultures (Melbourne UP); The Materiality of Color (Ashgate); Cultural Exchanges Between Brazil and France (Purdue UP);Images take Flight (Hirmer); Getty Research Journal; and Journal of Art Historiography. Buono has two forthcoming books: a co-edited volume with Bloomsbury Press (with Sven Dupré), The Cultural History of Color in the Renaissance; and her monograph, Tupinambá Feathercraftin the Early Modern Brazilian Atlantic, which examines the relationship between Tupinambá material culture and early modern European discourses on visual culture, science, religion, and politics.



|第三版块 空间与叙事|

Part 3 Space & Narration




Elena Fumagalli


《16-18 世纪佛罗伦萨皮蒂宫权力与艺术的展示》

Power and Display of Art in Palazzo Pitti,Florence, 16th-18th Centuries


Curriculum Vitae


摩德纳雷焦艾米利亚大学的艺术史教授(2005-),此前曾任教于那不勒斯第二大学。她从罗马法兰西学院(1991-1992)退休,曾是哈佛大学意大利文艺复兴研究中心的研究员(1995-1996)和巴黎高等研究实践学院应邀研究主任(2012.5-6)。她出版的专著涵盖多个领域,包括:艺术史、赞助、16-18 世纪的罗马、佛罗伦萨、那不勒斯和摩德纳收藏。她是三个17 世纪佛罗伦萨相关展览的策展人(“手臂和爱:阿里奥斯托,十七世纪佛罗伦萨艺术”,佛罗伦萨,皮蒂宫,2001 年;“‘哲学意境’和‘迅捷的奇妙’,十七世纪那不勒斯绘画”,佛罗伦萨,乌菲齐美术馆,2007 年;“佛罗伦萨的绘画与文学”,阿雅克肖,费斯奇博物馆,2011 年)。她最近与拉法埃拉·莫尔塞利上联合发表了关于17 世纪的意大利宫廷画家的论文集。她目前的研究重点是16 世纪中叶到1630 年佛罗伦萨画家的职业性。


Elena Fumagalli is Professor of Art History at University of Modena & Reggio Emilia since 2005. Previously she taught at University of Naples 2. She has been Pensionnaire of French Academy in Rome (1991-1992), Fellow of Villa I Tatti, The HarvardUniversity Center for Italian Renaissance Studies (1995-1996), Directeurd’étude invitée to EPHE (may-june 2012). She has published on various aspects ofart history, patronage, and collecting in Rome, Florence, Naples and Modena from the sixteenth to the eighteenth-century. She was curator of three exhibitions focused on Florence in seventeenth-century (“L’arme e gli amori: Ariosto, Tasso Guarini nell’artefiorentina del Seicento”, Florence, Pitti Palace, 2001; “filosoficoumore e maravigliosa speditezza. Pittura napoletana del Seicento nellecollezioni medicee”, Florence, Uffizi, 2007; “Florenceau Grand Siècleentre peinture et littérature”, Ajaccio, MuséeFesch, 2011). She recently published with Raffaella Morselli a volume on the court artist in seventeenth-century Italy (Viella, Rome, 2014).Her current researches focused on the profession of painter in Florence from mid-sixteenth century to 1630.



Linda Borean


《威尼斯艺术收藏的展示(1650 年至1850 年)》

The Display of Art Collections in Venice(c. 1650-1850)



Curriculum Vitae




Linda Borean is Professor of History of Art at the University of Udine since 2001. She is member of the Committee of the PhD in Art History and of the High School in Art History. She has been Getty Scholar (2003/2004) and Andrew Mellon Senior Fellow at the Metropolitan Museum in New York (2012/2013). Her researches, supported by some grants (Francis Haskell Memorial Fund, Royal Society of Edimburgh Grants in Humanities),concerns history of art and art collecting in Venice in early modern age. She has been member of the project “collezionismo d’arte a Venezia” supported by the Fondazione di Venezia and by the Getty Institute. In this context she is the co-editor of two volumes Ilcollezionismo d’arte a Venezia. Il Seicento (2007) and Ilcollezionismo d’arte a Venezia. Il Settecento (2009). She published essaysin international journals (Arte Veneta; The Burlington Magazine)and had given many papers in international symposiums and Universities(University of St. Andrews; Pune, India, Technology Institute;Kunsthistorisches Institut, Florence; INHA, Paris) and Museums (London, National Gallery; Madrid, Prado; Boston, Museum of Fine Arts). Her current research focuses on the culture and practice of the studio in Baroque Venice.




Dawn Odell



A Display of Chinese Art in Early America


Curriculum Vitae


波兰路易斯克拉克学院艺术史副教授。她的研究专注于欧洲和亚洲地区在现代早期时期关于物质产品和艺术实践的交流,尤其是荷兰和中国的交流。她发表了关于17 世纪荷兰旅行作家约翰·尼霍夫、代夫特陶器(产于荷兰)与中国进口瓷器、中国与荷兰的人种学以及欧洲早期对的中国学研究的相关论文。她现在正在进行两个项目,一个项目研究17 世纪巴塔维亚(现在的雅加达)的视觉文化以及为荷兰东印度公司从事艺术品生产的中国人、印尼人和欧洲人的地区人种多元化问题;另一个项目研究中国艺术在美国的首次展出活动,该展出活动是在18 世纪由荷兰移民范巴澜在的费城组织进行的。


Dawn Odell is an Associate Professor of Art History at Lewis & Clark College in Portland, Oregon. Her research focuses on the exchange of material goods and artistic practices between Asia and Europe in the early modern period, particularly the Dutch engagement with China. She has published essays on the seventeenth-century Dutch travel book author Johan Nieuhof, Delftware and Chinese export porcelain, Dutch and Chinese ethnographies, and early Sinology in Europe. She is currently working on two research projects. One explores the visual culture of seventeenth-century Batavia (present-day Jakarta) and art produced for Dutch East India Company employees by the region’s diverse population of Chinese, Indonesia and European inhabitants. The second studies the first public display of Chinese art in the United States, which was presented in eighteenth-century Philadelphia by the Dutch-born émigré Andreas Everardus van Braam Houckgeest.




Hang Sunquan & Liu Yihong




“Smart” to Modernity: A Social Exhibition within the Production of Urban-Rural Space


Curriculum Vitae



推土机》、《除非我们寻找美丽》、《建筑与乌托邦》。译有《自己干文化- 英国九零年代的派对与革命》,编有《大台北文化志》、《魂梦雪泥─文学家的私密》、《隐匿的城市灵魂》等等。


Huang Sunquan is PhD of Graduate Institute of Building and Planning at National Taiwan University and is Professor of Graduate Institute of Interdisciplinary Art at National Kaohsiung Normal University. His research orientation includes architecture and urbanism, culture and media, social mobilization, interdisciplinary arts. He was a Guest Professor of the Department of Cultural Studies at Lingnan University, Hong Kong (June,2005)and the School of Inter-Media Art at China Academy of Art (2013)and the Professor of Graduate Institute of Trans-disciplinary Arts at Taipei National University of Arts and Graduate Institute of Architecture Art at National Tainan Art University. He is the author of Green Bulldozer, Unless We look for Beautiful and Architecture and Utopia, the translator of DIY- Party and Protest in 90s Britain and the editor of Cultural Annals of Greater Taipei, Dreams along the Path- Secrets of Literates, The Hidden Urban Soul and etc.



刘益红,中国美术学院跨媒体艺术学院策展专业在读博士,浙江大学宁波理工学院教师。参与策划展览“汉雅一百:偏好”,担任策展助理;担任中国美术学院85 周年校庆特展“八五85”展览的视觉设计;参与策划“玉出昆仑”徐龙森山水画展,担任策展助理。


Liu Yihong is a PhD candidate majored in curating at the School of Inter-Media Art of China Academy of Art and a teacher of Ningbo Institute of Technology, Zhejiang University. Curatorial experience: “Hanart100: Idiosyncrasies”, curatorial assistant; “Eighty five 85”,85 anniversary exhibition of China Academy of Art, visual manager; “YuchuKunlun, Xu Longsen” landscape painting exhibition, curatorial assistant.