神庙、纪念碑与社会记忆
大流行时期的美术馆学限度与转向
Temple, Monument and SocialMemory:
The Limits and Shiftsof Art Museum Science in the Pandemic Period
讲者：沈森 （中央美术学院艺术学理论博士，广州美术学院艺术管理学系教师，广州美术学院新美术馆学研究中心副主任，自由评论人，策展人）Lecturer: ShenSen （PhD in Art Theory, Central Academy of Fine Arts, a teacher at ArtManagement Department, Guangzhou Academy of Fine Arts, the Deputy Directorof the Research Center of New Art Museum Science, Guangzhou Academy of FineArts, a freelance art critic and curator.）
讲座时间：2020年5月13日（星期三）19:30Time：19:30，Wednesday， May 13th，2020讲座方式：腾讯课堂
Platform: Tencent Classroom
主办单位：新美术馆学研究中心、广州美术学院美术馆Organizers：The Research Center ofNew Art Museum Studies, Art Museum of Guangzhou Academy of Fine Arts
讲座内容
Lectureoutline
美术馆学是什么？它首先是一套研究美术馆的历史与观念的基本方法，包括研究美术馆的过去与发展、制度与文化政策，以及美术馆内与外的政治与社会功能。从更广泛的角度，美术馆学也研究美术馆的生产与接受，包括美术馆的公共教育、展览展示、收藏保护，以及以公众、专业人员、学者、艺术家、策展人为切入点的主体性研究。
以此而论，美术馆学并不仅仅是一个研究美术馆的内部学科，也包含了人类活动的诸多领域，不仅仅是艺术，还有多学科的介入，从而形成一个综合的文化领域。在这样的框架内，美术馆学是一门相对较新的学科，并且存在着许多可能，包括“新美术馆学”、“生态美术馆学”、“社会美术馆学”，并创造了大量适用于美术馆的理论，在这些理论中，美术馆被视为“异质空间”、“权力空间”、“性别空间”、“景观空间”，以及在上世纪六十年代之后，因对社会控制和权力反思而带来的美术馆怀疑者的立场，以及“美术馆的终结”。
然而，过多涉及美术馆的“方法”，而少涉及美术馆的“目的”的学科视野正在面临转向。伴随大流行的现实，美术馆正在努力适应不断发展的社会问题所带来的挑战，美术馆不可侵犯的神圣性与仪式性（神庙），以及美术馆作为历史与政治的见证物和不可忽视的意识形态（纪念碑）正在崩塌，这为美术馆作为“异质空间”及其“去物性”留下了预留地。新美术馆机构正在成为“社会记忆”的空间和载体，并通过公众参与拥有揭示微观的能力。在此，不朽的空间正在失去它的意义，美术馆通过日常生活的实践和更为主动的文化介入成为集体记忆的数据库，并在社会的网络体系中扮演着揭示人性与社会现实的新角色。
What is the Art Museum Science? First of all, it is a set of basicmethods to study the history and perspective of artmuseums, including studies of thehistory and development of art museums, institutions and cultural policies, aswell as the political and social functions inside and outside art museums. Froma broader perspective, the Art Museum Science alsostudies the production and acception of art museums, including publiceducation, exhibition displays, preservation of collection, as well as artmuseum research and science with the public, professionals, scholars, artistsand curators as the subjects.
In this regard, the Art Museum Science is not only an internal discipline tostudy art museums, but also includes many fields of human activities, not onlyart, but also multi-disciplinary interventions, thus forming a comprehensiveart field. Withinthis framework, the Art Museum Science is arelatively new discipline, and a discipline withmany possibilities, including the"New Art Museum Science", "Ecological Art MuseumScience", "Social Art Museum Science", and has created a number of theories that apply to art museums, in these theories, art museums areregarded as "heterogeneous space", "power space","gender space", "consumption space", and after the 1960s, the position of art museum skepticsbrought about by the reflection on social control and power, and "thetermination of art museums".
However, the disciplinary perspective thatinvolves too much "method" and too little "purpose" of art museums isfacingthe shifts. With the reality of pandemic, artmuseums are trying to adapt to the challenges brought by thedevelopment of disease,the sanctity and rituality(temple) of art museums, and the artmuseum is collapsingas the witness to history and politicsandthe ideology (monument) that cannotbe ignored, this left the reserved space for the artmuseum as a "heterogeneous space" and its "demateriality".The new art institution is becoming the space and carrier of"social memory" and has the ability to reveal the microcosm throughpublic participation. Here, the immortal space is losing its meaning, throughthe practice of everyday life and more active culturalintervention, the art museum becomes a database ofcollective memory, and plays a new role in thesocial network system that reveals human nature and social reality.
美国国家美术馆与华盛顿“权力轴线”，google地图
NationalGallery of Art and Washington Axis Of Power, Google map
卢克索方尖碑与在协和广场下游的卢浮宫
The Luxor Obelisk and the Louvre which is is locateddownstream from the Place de la Concorde
卡梅隆·邓肯之问，博物馆：神庙还是论坛？
The Museum, a Temple or the Forum by Duncan F.Cameron
爱德华·索亚与他的“第三空间”理论
Edward W. Soja and his “Third Space” theory
2011年大地震后新西兰基督城的公共艺术复兴，作为地震纪念馆的替代性计划
After the earthquake in 2011, Christchurch in NewZealand saw a revival of public art as an alternative plan for an earthquakememorial museum
大流行期间，人们在盖蒂美术馆的线上活动中模仿馆藏作品
During the pandemic period, people imitated artworks from the collection of Getty Center in its online activity
维也纳博物馆对冠状病毒流行期间日常物品的收集项目
Corona in Vienna: A Historical CollectionProject of the Wien Museum, collecting everyday objects during thecoronavirus epidemic period
Google 艺术与文化联合121家博物馆打造的“Once Upon a Try”线上展览分享平台
“Once Upon a Try”, an online exhibition sharing platform initiated by GoogleArts & Culture and 121 museums around the world
讲者简介
About the lecturer
沈森，中央美术学院艺术学理论博士，广州美术学院艺术管理学系教师，广州美术学院新美术馆学研究中心副主任，自由评论人，策展人。专注的研究方向有新美术馆学与展览研究、美国文化战争时期的艺术机构研究，长期从事现当代艺术批评与策展。
Shen Sen, PhD in Art Theory, Central Academy of FineArts, now he is a teacher at Art Management Department, Guangzhou Academy ofFine Arts, the Deputy Director of the Research Center of New Art MuseumScience, Guangzhou Academy of Fine Arts, he is a freelance art critic andcurator. His research interests include the study of New Art Museum Science andexhibition, the study of art institutions during the American culture war, andhe has long been engaged in modern and contemporary art criticism and curation.
腾讯课堂二维码：
TencentClassroom QR Code:
腾讯课堂链接：
https://ke.qq.com/webcourse/index.html？cid=2270508&term_id=102373650&lite=1&from=800021724
The link of TencentClassroom:
https://ke.qq.com/webcourse/index.html？cid=2270508&term_id=102373650&lite=1&from=800021724
