Rheology And Symbiosis:chinese Contemporary Art And Biennial System In The 1990s

During the development of contemporary art,increasing and popularity in a large scale of biennial is one of the most important and remarkable art phenomena since the Second World War.Different from the traditional art exhibition system,the Biennale gathers the latest creative achievements and cutting-edge artistic ideas in the field of art in a fixed time range,and displays them centrally through certain academic themes.This way of operation is easier to form a complete exhibition brand.At the same time,Biennale,as a contemporary art system born under the background of multiculturalism,is more inclusive than the traditional art exhibition system.Therefore,since the 20 th century,various "biennial exhibition" projects have become the banner leading the trend of world art.In 1990 s,the trend of globalization pushes Chinese artists to step into world art system more actively.The influx of western art judgment standard and its discourse system has impacting China’s indigenous art system and urged us to reform.In the dynamic 1990 s,Chinese artists stepped on the world biennial stage for the first.At the same time,“biennial” system also stepped into Chinese exhibition system and developed quickly.Besides,the introduction of “biennial” system in 1990 s also provided indispensable assistance for Chinese contemporary art entering into international society.This research selects the operating case of the biennale system in China in the 1990 s and clarifies the development and change of “biennial” system since the first time of using the word “biennial” by art group from North to 2000 when the Third Shanghai Biennial was held.Through specific operation system of these exhibitions,the paper discusses the operation purpose and historical view in its back when Chinese biennial project entered into international society in 1990 s for the first time;and reappears the course of continuous exploration and trial of Chinese institution theory of art impacted by both awareness of localization and western discourse system.In the development of Chinese contemporary art,the focus of the problem is often placed on the problems of contemporary art itself,not only ignoring the research on the development mechanism of contemporary art,but also ignoring the institutional background that exists in the development process behind it.Therefore,through the case of the biennial exhibition project in China in the 1990 s,this paper systematically analyzes the biennial exhibition system as an "imported concept ".Through multi-angle analysis and discussion,it shows that Chinese contemporary art is constantly developing and the art system is constantly adapting.