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Su Jian is the critics’ collective selection Fair bloxorz

Su Jian: critics of the collective selection of justice before a forum together nearly twenty critics named the "thirty most influential China installation art works have been published, quite eye-catching in. This kind of contest, is probably the way to promote the show’s economy "is very difficult to avoid it, its purpose: 1. Organizers to take this gimmick, can increase visibility; 2. Thus, critics have tried to participate in the designated verification, show, make a right to speak. On the first point, almost the same people, critics of the annual selection in Xi’an "Chinese dozens of the most ugly building", I had criticized it with network activity homogeneity; second, the collective will and the related critics critics years there has been doubt and tried to discourse through a combination of punches to fight, but not rigorous, serious, in fact, not only exposed their anxiety in turn undermine the credibility of the collective. On the whole, in the forum, should influence through every academic topic articles, speeches and other documents; to critics, qushen do lose occupation identity, its effect is not over by millions of users better selection. Collective selection, has two meanings: one refers to a comment to select dozens of works, like the wholesale, it is difficult to ensure clear criteria; two to participate in the selection of the critics is nearly twenty collective responsibility to ensure that people. The selection, dubbed "the most influential" title, communication is very easy because of the specific institutions, participating critic information is ignored, the absurd consequences caused by Overgeneralization. Very much of the problem. For example, how to define the device art, is an uncertain problem, which is how to influence, "most", to define these elements, may have to spend many critics of academic skill. In selected Cai Guoqiang as an example, from the dissemination of public awareness, personal breadth, iconic perspective, why not his "gunpowder" works but that landscape device "borrow arrows with thatched boats"? Is it because the gunpowder works do not conform to the concept of installation art? Or is it because "gunpowder" works too much? If the number is, named "gunpowder" series as a piece of work into the assessment, this is a strict attitude in respect of artists influence. The same problem also appears in Xu Bing, first of all, the limited thirty works of Xu Bingzhan to two, which itself has exposed the random selection activities the purpose of fuzzy and procedural details, also doubts that from many facts influence (don’t know what organizers index), the English text the selected works, if that works in this foreign influence is bigger, the "where the dust" in what is the basis? If you say "mumbo-jumbo", "where the dust" is elegant critics feel professional, is not the main influence on the so-called elegant social effect? I personally think that, like Cai Guoqiang’s "gunpowder" works, Xu Bing’s "mumbo-jumbo" and in English words can be regarded as a piece of work, while they place nodes, copied, completely occupied artists personal popularity accumulation and sales strategy (market society without Hou Fei), can be titled "characters series" into the assessment — you see, say equal to flashed a me相关的主题文章: