万物有灵

ANIMISM

作为一个展览,＂万物有灵＂最初由欧洲输出,在非常有限的经费预算下,它被引进中国并首次在亚洲呈现.表面上,德国策展人安塞姆·弗兰克从美学及人类学角度提出了一个关于共识体制的反现代性议题.从参加1989年＂大地魔术师＂展览至今,中国的艺术工作者更倾向于通过追求差异化的身份政治,从而在全球艺术体系内获得一个席位.由于联想到近几年越来越多的欧洲学者开始呼吁超越差异,寻求同一性,这个展览及背后的机制不得不引起我们重视.

At its core, the exhibition ＂Animism＂ is a European export. Now, produced under circumstances of limited financial resources, it has been introduced into China and Asia for the first time. On the surface, German curator Anselm Franke works from aesthetic and anthropological perspectives to raise an anti- modernist proposal for the order of knowledge.