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冷林

時(shí)間:2010-04-28 10:10:53 | 來源:藝術(shù)中國

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2010藝術(shù)經(jīng)濟(jì)論壇,藝術(shù)經(jīng)濟(jì)論壇,發(fā)言嘉賓,藝術(shù)金融,藝術(shù)經(jīng)濟(jì),藝術(shù)市場(chǎng),藝術(shù)北京,+嘉賓名字

冷林

冷林  

1965年生于北京,中國當(dāng)代藝術(shù)策展人。1988年畢業(yè)于中央美術(shù)學(xué)院美術(shù)史系,獲學(xué)士學(xué)位;1993 年獲該系碩士學(xué)位。擔(dān)任北京公社創(chuàng)始人及現(xiàn)任主持,并擔(dān)任著名美國畫廊PaceWildenstein在亞洲的唯一分支機(jī)構(gòu)Pace Beijing的總裁。

冷林曾任中國藝術(shù)研究院《文藝研究》編輯、中國社會(huì)科學(xué)院文學(xué)所助理研究員。1993年至2007年間,擔(dān)任中國社會(huì)科學(xué)院副教授。從1994年開始,他全面涉足當(dāng)代藝術(shù)領(lǐng)域,分別扮演過藝術(shù)評(píng)論家、策劃人、藝術(shù)市場(chǎng)化和商業(yè)化的推動(dòng)者等多重角色;是中國本土最重要的藝術(shù)評(píng)論家及藝術(shù)策劃人之一,撰寫了很多評(píng)論文章并發(fā)表于國際重要刊物中。其中在對(duì)90年代中國藝術(shù)的理論概括與分析中創(chuàng)建性提出的“是我”概念尤為引人注目;他曾經(jīng)舉辦過頗具影響的《世說新語》、《是我》等展覽;并在96、97年開創(chuàng)性地組織了兩次中國當(dāng)代藝術(shù)的拍賣,為中國當(dāng)代藝術(shù)全面市場(chǎng)化奠定了基礎(chǔ)。

Leng Lin

Leng Lin (born in 1965, Beijing) is an important curator of Chinese contemporary art. He graduated from the Department of Art History, Central Academy of Fine Arts with B.A. in Art History in 1988 and in 1993 he was awarded a master’s degree in Art History. He is the founder of Beijing Commune and the president of Pace Beijing.

Prior to founding Beijing Commune, Leng was the editor of Art and Literature Research, and also the assistant researcher of the Institute of Literature at the Chinese Academy of Social Sciences. From 1993 to 2007, he worked as an Associate Professor of Art Theory and History at the Chinese Academy of Social Sciences. Since 1994, he has been in the field of Chinese contemporary art acting as a critic, curator, and gallerist; he is recognized as one of the most important curators and critics in mainland China. He has written extensively for numerous international publications. His writings on Chinese art theory in the 1990s are well-known, especially his concept of ‘I AM’. He has curated several important exhibitions such as New Anecdotes of Social Talk and It's Me. He was also responsible for organizing two of the earliest Chinese contemporary art auctions in 1996 and 1997; these were seen as helping create a foundation for a contemporary art market in China.

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