The Transformation Of Contemporary Art To The Exhibition System Of China’s Art Museum (1985-2010)

Since the 1980 s,with the implementation of a series of reform and opening-up policies in China,the context of Chinese art creation has undergone earth shaking changes.Under the new social vision and cultural needs,a large number of artists with avant-garde ideas and pioneering spirit have emerged.With the help of the nutrients of Western avant-garde art,they have made new changes in artistic creation,which also indirectly promoted the new reform of China’s Art Museum exhibition system.Therefore,this study divides the reform of the exhibition system of China’s art museums into three different types of paradigms.First,the transformation of the exhibition system of China’s art museums by contemporary art;Second,the transformation of contemporary art to the exhibition system of local art museums;Third,contemporary art promotes the exhibition system of private art museums.Based on this background,through the relevant theories of art museum science,on the one hand,as a formalist art exhibition system,it is classified as art heritage and white cube space;On the other hand,as a relational aesthetic art exhibition system,it is classified as intrusive art exhibition and literature exhibition.It makes a diachronic combing and Research on the forms of contemporary art exhibition in different types of Chinese art museums.The first part of this paper takes the Chinese Art Museum as the main research object from the aspects of national heritage,white cube and intrusive art,and analyzes how the Chinese Art Museum has entered the formalistic material exhibition system from the former formalist exhibition system,and how it has created a good cultural environment for the relational aesthetic Exhibition system through the large-scale exhibition of modern art.The second part takes Shanghai Art Museum as the research object,and analyzes how the holding of Shanghai Biennale has rewritten the style of Art Museum exhibition and shaped the publicity and internationality of Art Museum in the context of globalization from the aspects of white cube,intrusive art and art literature exhibition,while China’s Art Museum exhibition system has completely changed from the material law of formalism to the art exhibition system of Relational Aesthetics.The third part takes the private non enterprise public welfare art museum TODAY ART Museum as the research subject,through the generation and intervention of the concept of "independent curator";Today’s literature exhibition represents the end of the exhibition space dominated by physical property;Returning to the white cube space has a certain significance for the promotion of the exhibition system.It can be said that the reform of the exhibition system of private art museums has once again given the material halo to the barren world picture era.China’s Art Museum exhibition system has returned from the relationship aesthetics to the material exhibition system.The fourth part specifically discusses the enlightenment and thinking of contemporary art on China’s art museum system.According to the above four parts,it is concluded that the continuous change and upgrading of the exhibition system not only widens the boundary of Art Museum exhibition,but also makes it return to society,but also injects new vitality into the development of Chinese contemporary art.