CCAA 藝術(shù)評(píng)論獎(jiǎng)
我為什么要設(shè)立2007年CCAA（中國(guó)當(dāng)代藝術(shù)獎(jiǎng)）藝術(shù)評(píng)論獎(jiǎng)呢？活躍的中國(guó)藝術(shù)界顯然缺乏足夠的獨(dú)立藝術(shù)評(píng)論。過去，這種缺乏主要是由于一種未足夠加以區(qū)分的藝術(shù)運(yùn)作體制——在整個(gè)文化領(lǐng)域內(nèi)沒有獨(dú)立的媒體，而這些媒體也沒有任何獨(dú)立性。這種狀況對(duì)于維持一位真正獨(dú)立的作家的事業(yè)而言，并沒有提供足夠的資源。在蓬勃的藝術(shù)市場(chǎng)當(dāng)中，藝術(shù)媒體的出版物、藝術(shù)書籍和展覽圖錄大大豐富起來。物質(zhì)條件也大大改善了。然而大部分此類著作不得不迎合市場(chǎng)的需要。此外，中國(guó)國(guó)內(nèi)的學(xué)術(shù)體系在為從事藝術(shù)評(píng)論事業(yè)而提供的特定課程方面，也一直進(jìn)展緩慢。進(jìn)入2010年，整體市場(chǎng)漸漸冷靜下來，但就出版物而言，基本還是維持著原樣。
另一個(gè)弱點(diǎn)還是在于對(duì)中國(guó)藝術(shù)屆的參與。市場(chǎng)幾乎唯獨(dú)只去驗(yàn)證被認(rèn)為是好的或壞的藝術(shù)。這種局面是由于沒有足夠的資源來平衡市場(chǎng)支配力造成的，例如實(shí)力雄厚的美術(shù)館機(jī)構(gòu)能夠而且愿意用他們的策展實(shí)踐來參與討論，特別缺乏那種獨(dú)立的分析和評(píng)論，后者旨在培養(yǎng)迅速增長(zhǎng)的觀眾群體，這些觀眾要么只是粗略地一瞥，要么樂于視覺藝術(shù)投資。
藝術(shù)評(píng)論大獎(jiǎng)希望從兩方面來指出這些問題，發(fā)起對(duì)獨(dú)立藝術(shù)評(píng)論的討論；因?yàn)閷?duì)于推進(jìn)中國(guó)的藝術(shù)創(chuàng)作而言，這是最為根本的，同時(shí)也進(jìn)一步培養(yǎng)這一活躍領(lǐng)域的參與者。它也鼓勵(lì)能夠深入研究中國(guó)當(dāng)代藝術(shù)、但卻得不到資金支持的獨(dú)立寫作。
王春辰作為2009年該獎(jiǎng)項(xiàng)的得主，提交了一篇探討藝術(shù)介入中國(guó)社會(huì)這一主題的論文。在論文引序中，作者通過北京大批藝術(shù)區(qū)被拆除這一事件，指出在這些藝術(shù)區(qū)中所進(jìn)行的藝術(shù)活動(dòng)從未真正達(dá)成與社會(huì)的廣泛接觸?？梢钥闯?，在城市規(guī)劃面前，以及在不斷擴(kuò)張著、 變動(dòng)著的中國(guó)城市和社會(huì)中，藝術(shù)從未被列入優(yōu)先考慮的范疇。藝術(shù)家采取何種形式的、具有何種意義的介入手段，去拉近存在于藝術(shù)與社會(huì)之間的距離呢？
王春辰對(duì)這一非常現(xiàn)實(shí)而復(fù)雜的問題的研究分析充分印證了國(guó)際評(píng)委在2009年CCAA 評(píng)論獎(jiǎng)評(píng)選中遴選他的計(jì)劃提案時(shí)所給予的信任，該屆國(guó)際評(píng)委由徐冰（中央美術(shù)學(xué)院副院長(zhǎng)）、邱志杰（中國(guó)美術(shù)學(xué)院教授）、理查德?懷恩（Richard Vine，《美國(guó)藝術(shù)》資深編輯）以及烏利??？停–CAA 創(chuàng)始人）組成。
烏利?希客
CCAA中國(guó)當(dāng)代藝術(shù)獎(jiǎng)-評(píng)論獎(jiǎng)創(chuàng)始人
CCAA Art Critic Awards
Why did I in 2007 establish the CCAA (Chinese Contemporary Art Awards) Art Critic Awards?
The vibrant Chinese art scene clearly lacked sufficient independent art criticism. In the past, this lack was due to an art operating system that was not differentiated enough – there was no independent media within the cultural domain, and no independence within these media. This situation provided insufficient resources to sustain a career as a truly independent writer. Then, in a booming art market, art media publications, artist books and exhibition catalogs abounded. Material conditions had improved greatly. Yet most of this writing had to cater to the needs of the market. In addition, the academic system inside China had been very slow in providing a specific curriculum for those wishing to pursue a career in art criticism. As we write 2010,the hype has cooled down a bit. Yet the issues remain largely the same.
Another weakness still weighs in on the Chinese art scene. The market, almost exclusively, validates what is considered good or bad art. This stems from insufficient resources to balance market powers, such as strong museum institutions capable and willing to participate in the discourse with their curatorial practice, and a particular lack of independent analysis and critique aimed at educating a rapidly growing audience that casts an eye on or is willing to invest in visual arts.
The Art Critic Award wants to address these issues twofold, by raising the discussion on independent art criticism which is so essential to advance art creation in China and to further educate the participants of this vibrant scene. It also seeks to encourage independent writing by enabling an in depth research project in Chinese contemporary art that might not otherwise have found financial support.
Wang Chunchen, as the winner of the 2009 award, has submitted an essay which looks at art intervention in Chinese society. Starting out from the abolishment of numerous art districts in Beijing he states that the art works created in these districts have never managed to make full contact with the society at large. As a result, be it in view of city planning or ideology in the ever expanding and fluctuating Chinese city and society, art has never made it on a priority list for consideration. What interventions have artists undertaken - and what could their means be - to close the diagnosed gap between art and Chinese society?
His essay on this very real and complex issue fully justifies the trust that the international jury consisting of Xu Bing (Vice President of Central Academy of Fine Arts.),Qiu Zhijie (Professor of China Art Academy….),Richard Vine (Senior Editor of Art in America….) and Uli Sigg (Founder of CCAA) put in selecting Wang Chunchen’s project as the winner of 2009 CCAA Art Critic Award.
Uli Sigg
Founder of CCAA Art Critic Award
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