魂系敦煌──新版“九十春秋敦煌五十年”选载(三)

新中国成立后 ,常书鸿先生随中国文化代表团前往印度、缅甸访问 ,尔后考察了麦积山、炳灵寺和新疆石窟。在社会主义新政策指引和中央的关怀重视下 ,敦煌莫高窟得到了全面维修加固 ,研究所的人力、物力、财力也得到了加强。常书鸿先生满怀对敦煌艺术的热爱 ,带领全所人员展开了大规模的临摹和研究工作 ,取得了一系列成就 ,为敦煌艺术的保护和弘扬做出了重要贡献。     

Keeping it real? Subcultural graffiti,street art,heritage and authenticity

This article considers the implications of framing subcultural graffiti and street art as heritage. Attention is paid to subcultural graffiti’s relationship to street art and the incompatibility of its traditions of illegality, illegibility, anti-commercialism and transience with the formalised structures of heritage frameworks. It is argued that the continued integration of street art and subcultural graffiti into formal heritage frameworks will undermine their authenticity and mean that traditional definitions of heritage, vandalism and the historic environment will all need to be revisited. The article contributes to the current re-theorisation of heritage’s relationship with erasure by proposing that subcultural graffiti should be perceived as an example of ‘alternative heritage’ whose authenticity might only be assured by avoiding the application of official heritage frameworks and tolerating loss in the historic environment.     

现代馆的时代含义

艺术的力量不容忽视,南京博物院艺术陈列馆的现代馆需要鲜明的个性,这个个性要具有时代特色浓厚的展示内容来填充,从而达到推动社会文明进程及城市发展的目的,这是本文努力强调的。     

Engaging geographies of public art: indwellers,the ‘Butt Plug Gnome’ and their locale

This paper focuses on particularities of indwellers' perceptions of public art and its locale by drawing on the epistemology of ‘situated knowledges’ (Haraway 1991, Simians, Cyborgs, and Women: The Reinvention of Women. New York: Routledge) and the notion of ‘geographies of engagement’ (Zebracki, Van Der Vaart and Van Aalst 2010, Geoforum 41(5): 786–795). We employ the case of Paul McCarthy's internationally acclaimed public artwork Santa Claus in Rotterdam to illustrate the sundry outlooks on its spatialities, aesthetics and moralities, and its functionalities in relation to place. Santa Claus's alleged sexual nature is highly disputed among local politicians and the local population. This dispute is narratively covered by media sources and inscribed by its popular renaming as the ‘Butt Plug Gnome’. We empirically situate documented media views within the way indwellers perceive Santa Claus and its experienced locale in interrelation with themselves. We try to open up differential vistas on public-art narration in relation to people, time and space, whereby we elaborate on the reflexive idea of ‘social relationality’ (Massey and Rose 2003, Personal Views: Public Art Research Project. Milton Keynes: The Open University) by revealing how socio-spatial differences in public-art narration are negotiated. As such, we examine how public art is geographically reconstituted through the publics, namely those for whom public art is essentially intended yet who have been neglected actors of analysis in public-art research.     

Outsiders? A sociological study of Norwegian artists with minority background

Why are there relatively few successful artists from a migrant background in Norway? Based on a study of artists of known migrant backgrounds, we explore this question from the artists’ points of view. We analyze both their social and cultural background, and the mechanisms of exclusion and inclusion at work in Norway’s art world, and especially the interaction between the two. We have concentrated on the dramatic arts: theater and dance. The article presents a theoretically informed analysis of the qualitative material using the sociology of art on the one hand and the sociology of migration and ethnic relations on the other. Further, the empirical analyses are in constant dialog with other Norwegian studies of the art field and the artists themselves. The article presents original findings on the relationship between barriers in young migrants’ backgrounds and impediments to entering and navigating at the field of dramatic arts.