Topics for debates - 中欧社会论坛 - China Europa Forum

Topics for debates

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Bao Lin (Chinese Prime Mover of T12e, Artist, China)

  • After the cross-media expansion of art form, what’s the situation of art language in China and Europe?
  • Whether the contemporaneity of art includes reconstruction of aesthetic value? Who is reconstructing it, and how?

Yuan Zuo ( Art Educator, China)

Reflections on Chinese art education method. Whether Chinese art education should be reformed to adapt to the revolution of Chinese society?

Wang Lei (Collector, China)

  • Art investment, which aims to protect, carry forward and inherit culture, can achieve self-development through market methods and operation under economic laws.
  • If art investment which aims to protect is combined with tourism and real estate, it will be a breakpoint for creation industry. I hope that every discussion about art market should call attention to the purpose of investment, so that subsequent investors will not lose direction.

Wang Duanting (Art Historian, China)

The analysis of supranationalism trend in art, which is also a new ideological trend in the development of Chinese contemporary art.

Luo Xiaohua (Art Director in Culture enterprise, China)

Try to compare the art market between China and Europe:

  • Main causes of the disorder of art market. What’s the consequence in the future? How to straighten it out?
  • What’re the features of European art market?
  • The culture background determines the market direction. What’s our communication about? What can we get? What shall we construct together?

Li Mu (Artist, China)

  • Question the critical standpoints of Chinese contemporary art.
  • The conception of realism in painting should be clarified. Now, so-called realism has become the largest obstacle in the innovation and improvement in China.

Dimosthenis AGRAFIOTIS(European Prime Mover of T12e、Artist、Greek):

Under the background of globalization of market and present economic crisis, how do artists construct their professional profiles? How to manage supply and demand, and how to design their survival strategies in different sociocultural contexts. The classification is as follows:

  • Market orientation
  • Institutional orientation
  • Social relevance and mobilization
  • Sociocultural “catalysis”. Comparison of cases, experiences, lessons between Europe and China will indicate the possibility of the above classification. (The help from the participants is crucial)

James GOODWIN(Art Economist,U.K):

  • What’s the nature of art market crisis? Whether do these crises show any similarities or differences in time and space? How do the sociocultural conditions influence these crises?
  • What are the rational links between art and art market? What misconceptions are created if we approach art through market?
  • After the crisis, what will art and art market be like? Is it possible to imagine art beyond market?

Laurence AEGERTER(Artist,France):

  • The problem of concept in art creation
  • The shift from modern art to contemporary art worldwide.
  • Regarding the globalization of art, it is important to study how markets and systems, locally and worldwide, are related, and what are the decision-making forces behind global cultural matters?

Martina STECKHOLZER (Artist,Italy):

  • What are the main lines where Chinese art is accepted in Europe? Does Chinese art have an independent position? Does it affect contemporary art?
  • Is there a perspective which looks on world art history through the influence between European and Chinese art history? Dose this perspective makes any achievement? What is the impact of the increase of Chinese art presence to the contemporary art in Europe and what will it be in future?
  • Under present economic crisis, art selection processes become difficult. Who is responsible for the value of art, market, theorists, or art institutions? Is there any inherent value in artworks? Does artists’ gender have any effect on their success? If it does, what kind of effects is it?