摘要
2000年越后妻有大地艺术祭成功开启了艺术乡建的序幕,同时也带动了日本国内和亚洲多个国家和地区的艺术乡建风潮。为了更好地学习和借鉴越后妻有大地艺术祭的成功经验,我们有必要就其产生的背景和条件进行深入的梳理和剖析,借此洞悉其成功背后的原因,并反思中国艺术乡建在这些方面存在的不足。"本固"方能"枝荣",只有基于各方面条件的成熟和推动,作为"舶来品"的艺术乡建活动才可能扎根中国乡土并获得可持续发展。
In 2000,the Echigo-Tsumari Art Triennale successfully served as the prelude of art township construction,and also led to the trend of art township construction in Japan,so as many countries and regions in Asia too.In order to better learn from the successful experience of the Echigo-Tsumari Art Triennale,it is necessary for us to make a thorough analysis of its background and conditions,so as to understand the reasons behind its success.Then we are able to reflect on the shortcomings of Chinese art township construction in these aspects.Only with the maturity and promotion of all kinds of conditions,can the art rural construction activities as"imported"take root in Chinese native land and obtain sustainable development.
出处
《公共艺术》
2020年第6期49-52,共4页
Public Art
关键词
艺术乡建
公共艺术
文化产业经济
乡建策略
art rural construction
public art
cultural industry economy
rural construction strategy
