范迪安

 范迪安,1955年生于福建,曾任中央美院副院長,教授,現任中國美術館館長,中國美協副主席,全國美術館專業委員會主任,中國油畫學會理事,全國政協委員。從事20世紀中國美術研究、當代藝術批評與展覽策劃、藝術博物館學研究。曾擔任威尼斯雙年展中國國家館、中法文化年、中意文化年、上海雙年展等展覽項目的策展工作。

2014年9月22日起,范迪安任中央美術學院院長。
  • 中文名范迪安
  • 性別
  • 國籍中國
  • 民族漢族
  • 祖籍浙江
  • 出生地福建
  • 出生日期1955年10月
  • 職業館長
  • 畢業院校福建師范大學、中央美術學院
  • 主要成就中國美術館館長,中國美協副主席
  • 代表作品《當代文化情境中的水墨本色》
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雙年展主策展范迪安訪談錄:將中國藝術帶向世界

中國美術網 09-18 瀏覽

范迪安,中國美術最高學府、中央美術學院副院長,中國著名策展人,有“把中國當代藝術帶到世界第一人”之稱。7月8日晚,作為本屆成都雙年展的主策展人,他從雙流國際機場直接走上成都雙年展開幕...
人物介紹

范迪安,1955年10月生于福建,浙江人,擅長美術史論。

1980年畢業于福建師范大學美術系;

1985年在中央美術學院讀研究生,獲碩士學位,后留校任教。

曾任中央美術學院院長助理,中央美院副院長,研究部主任。

從事20世紀中國美術研究、當代藝術批評與展覽策劃、藝術博物館學研究。藝術管理實踐者,現為中國美術館館長,中國美術家協會理論委員會副主任,教授。

油畫《引得春風進山來》參加第二屆全國青年 美展;著有《當代油畫十家風格與技法研究》(合作)、《當代文化情境中的水墨本色》,主編《世界美術院校教育》等叢書。

發表有《學院的當代使命》、《美術學院:跨世紀的思考》、《西北風儀——西北師大美術系教師作品展觀后》等畫冊撰著評論文。

策劃“水墨本色”、“第25屆巴西圣保羅雙年展”中國館等展覽。

擔任“都市營造――2002上海雙年展”主策展人,第五十屆、五十一屆“威尼斯雙年展”中國國家館策展人、總策展人,中法文化年“20世紀中國繪畫展”、巴黎蓬皮杜藝術中心“中國當代藝術展”策展人,“藝術之巔”系列藝術推廣活動藝術總顧問。

2005年12月調任中國美術館館長。在他的支持下,2008年北京中國美術館舉辦的“盛世和光——敦煌藝術大展”吸引了許多觀眾的目光。每天近2萬、最多時達2.8萬人的觀眾數量。

藝術作為

自上世紀80年代以來,范迪安一直奔波于全世界各國的文化界,積極推動中國當代藝術運動與國際藝術交流。擔任中國美術館館長一職之后,他策略性地將這一方式和資源帶入美術館,使得原本以展示經典藝術為主的國家級美術館逐漸承擔起當代藝術傳播和普及功能,讓當代藝術從地下半地下狀態走入官方和大眾面前。

2008年,借北京奧運的大好時機,范迪安在中國美術館開展一系列大型的中外藝術展,包括與德累斯頓美術館合作的“靈動的風景:穿越德意志藝術時空”;“格哈德•里希特藝術展”等等,都成為年度大展中的亮點;另外為著名當代藝術家舉辦的個展,如“馬諾羅•瓦爾代斯藝術展”、“園林烏托邦——展望藝術展”開拓了美術館與畫廊機構合作的范例;同時,范迪安積極地將最新的藝術形式通過展覽介紹給大眾,比如“合成時代:媒體中國2008”國際新媒體藝術展的開幕(雖然展覽質量評價褒貶不一,但畢竟在美術館舉行的此類展覽尚屬首例)。而“我想要相信——蔡國強個展”的舉辦,無疑在奧運期間為美術館樹立良好的口碑和國際形象。

不管是展覽的策劃組織,還是美術館公共職能的推廣,范迪安的目標是讓中國當代藝術正面出場,爭取其在中國主流藝術中的地位,并與西方主流對接。他提出“美術館要實現基礎功能,必須從以藝術家為中心轉向以公眾為中心”的這一思路,把中國美術館的作用天平傾斜到公眾這方面來。
2008年,中國美術館繼續堅持舉辦美術館學術講座,讓公眾了解美術發展的特征。范迪安還帶領中國美術館將國內外展覽在全國各地輪回展出,以在普通群眾普及藝術。在他的努力下,2008年年末,政府相關部門已經批準了中國美術館新館的建設申請,將在“鳥巢”附近建立一個全新的中國美術館,從而將鳥巢周邊逐步發展成為一個21世紀新的文化中心。范迪安的這些行動產生巨大的社會效益,被認為是迄今最好地將中國當代藝術介紹給普通群眾的館長。

書法愛好

“書法是一個生命耗能過程,此終將生命的印記落在筆端。”范迪安說。他在《中國美術館當代名家系列作品集·書法卷》中,對于書法界重要的活動和當代書法家的作品以及創作現象做深入的剖析與研究,他堅持對當代優秀藝術家及其作品進行文藝批評,不但給藝術家以指導,也使自己的研究不斷深入。他還通過研究古今藝術家的技藝和風格,啟發著自己,使自己的創作更有依據。同時,他的創作又反過來使他的理論得到實踐的驗證。
范迪安十分推崇王冬齡的書法,稱其“筆墨完全被精神化,精神從具體的書寫中抽象出來,它們帶來的視覺體驗,已經不是觀看,而是體驗到了一種情境、一種情懷。”其實,作為書法家的范迪安,他同樣注重精神的超越。他的作品古樸而渾厚的魅力令人傾倒,筆法流暢,遒勁有力,那種磅礴大氣,將他那中國當代藝術領軍人物的氣質和胸懷表現得淋漓盡致。
藝術品的價值最終都是由作品的藝術含量所決定的。而藝術是不斷發展的,不是一成不變的。墨守成規一味摹古,最終既趕不上古人,又被今人所拋棄。特別是書法藝術,最容易走上摹古的誤區,有些書法家從年輕體壯直到晚年,除了功力慢慢深厚,沒有大的變化,這是一大損失。因此,書法藝術也要創新,但創新并不是標新立異。范迪安說,緊跟時代,把握時代的審美特點進行創作,與一味迎合市場是兩回事,因為二者的目的不同,前者是為了在藝術上保持先進和被人們認可,而后者則表現出對藝術的不尊重。只要弄清這一界線,創作就既能保持前衛,又不會脫離藝術發展的軌道。因此,范迪安的創作,能夠堅持時代感與傳統文化的融合。在創作技巧的創新上,他從一個評論家的角度,綜合各家之所長,將之與傳統手法相結合,作品既不失古樸,又另有一番韻味,在古往今來的各大書家中自成一體,風格獨特。
在范迪安看來,書法創作既是一種創作行為,更是一種修身養性之道。他的創作,既是對自己藝術理論的實踐,又是對內心精神的陶冶。他不圖名利,只為一種精神的追求,同時對自己所研究的理論作一些實踐。而正是這一創作理念和實踐目的相結合,使他的書法作品既有章法,又超越章法,既神采不凡,又避免了狂放不羈。每一筆墨,都有嚴謹的章法和理論基礎,卻又能在一種獨特的創作心境下升華為一種精神、一種情懷、一種意境。

文章隨筆

為“國際當代素描展”畫冊做的序
2000年,中央美術學院和澳大利亞新南威爾士大學美術學院、英國格拉斯哥美術學院形成了一個“國際素描交流項目”。幾年來,三方互派教員,舉行短期講習班,舉辦小型作品觀摩展,也召開互動的素描教學研討會。這個被我們稱為“三角交流”的項目使三所院校都得到補益。項目運行一輪后.我們構想在中國舉行一次較大規模的學術活動.經與西安美術學院、廣州美術學院的同仁們一起商議,加上各大美術學院的參與支持,決定舉辦一個“國際當代素描展”,展覽將在西安、北京、廣州等地相繼展出.于是有了來自三個國家十多所美術學院組織的素描作品,其中絕大部分出自這些參加院校的教師之手——這是這本畫冊的由來。
在改革開放進一步深化和高等教育快速發展的條件下,中國的各個美術學院都在擴展對外交流,在各種交流項目中,也更多朝向深入的學術層面。但是總起來說,這些年來,在設計藝術專業領域里的交流相對比較多,這是因為我們容易看到國外一些美術院校在設計教育中適應社會發展需求的歷史經驗和現實優長.我們方興未艾的設計教育也特別需要在這方面趕上和補充。但在造型藝術領域,由于文化間的差異和教學傳統的差異,中外交流的幅度還不夠寬廣,往往只停留在信息傳遞的層面。在造型學科的基礎教育上,更是缺乏相互認真的觀察、探討與學習。實際上,在屬于“傳統”的專業學科里,中外美術教育今天已經有許多共同的課題需要、也值得相互交流,共同探討。比如在素描這個重要性毋庸質疑的領域,就在當代文化觀念、教育目標、教學方法等許多方面有新的發展,應該說大家在許多方面面臨的是共同的問題。在一個西方美術教育已普遍是自由造型、缺乏基礎教學的看法后面,其實人家一直在做著素描的表達與素描的教學等方面的研究。而中國美術教育重視基礎教育的傳統.在今天也已不是刻板一塊,而是出現了多樣的學術取向和探索樣式。只有在消除了認識上的文化差異之后,大家才能彼此看清對方,中外美術教育的交流才能得以深入地展開.也才稱得上“國際性”的學術交流——這是舉辦這個展覽的真正目的。
一個展覽和一本畫冊固然不足以概括“國際”的和“當代”的面貌,但是,通過它們.素描作為藝術作品的今日現狀及其他作為一個教學范疇的表現特征.面臨的問題大致是清晰可見的。就像所有的藝術都有“當代性”的特點與局限一樣,素描也有相當明顯的當代屬性。當代文化和藝術觀念對于素描的作用以及在素描中的反映.使人看到了素描的多種面貌。更重要的是.透過不同的面貌,可以深究其中的觀念取向、創造心理等屬于“思”的層面的問題,也可以看到觀察方法與表現方法這類屬于“看”和“做”的層面的問題。在西方,闡釋學(解釋的藝術)、文化理論(社會學研究)和現象學(體驗的藝術)等已成為當代知識風景的一大顯著特征,在素描表達和素描教學中也有反映。或者說,素描更進一步進入了“人文科學”的范疇。在中國,許多美術學院的教師們都在努力從學理上探究素描在當代文化背景中的新的可能性,有的學校在專題研究上下了很深的工夫,例如中國美術學院正在進行的具像表現繪畫的研究、中央美術學院設計專業基礎教學中的“課題教學”研究等等。無論中外,各種力圖建立新的素描原點和方法性的實踐,都使素描的“教學”與素描的“創作”聯系了起來,使施教的學理和教育的目標聯系了起來。為此,在這次巡回展覽中將要展開的學術研討會.將有助于從素描的功能、目的、觀念、方法等方面的展開,實實在在地推動我們的教學改革——這是展覽和學術研討會意欲達到的目標。

English Introduction

Fan Dian, born in October 1955 in Fujian, Zhejiang, specializes in art history.
1980 graduated from the Fine Arts Department of Fujian Normal University;
In 1985, a graduate student at the China Central Academy of Fine Arts, received a master's degree, after the school to teach.
Former China Central Academy of Fine Arts assistant dean, vice president of the Central Academy of fine arts, director of the Department of.
Engaged in twentieth Century Chinese art research, contemporary art criticism and exhibition planning, Art Museum research. Art Management Practitioner, currently curator of Chinese Art Museum, deputy director of theoretical Committee of Chinese Artists Association, professor.
Oil painting "spring breeze" attracted into the mountains to attend the second national youth art exhibition; author of "ten contemporary oil painting style and technique research" (cooperation), "contemporary culture in the context of" color ink, editor of "world art college education" and other books.
A "School of Contemporary Mission:", "Academy of Fine Arts: cross century thinking", "Feng Yi - Northwest Northwest Normal University Department of fine arts teachers Exhibition" and other pictures of view after writing essays.
The plan of "color ink" and "the twenty-fifth Brazil St Paul Biennale Chinese Museum exhibition.
As "Urban Creation -- the 2002 Shanghai Biennale" curator, the fiftieth, the fifty-one "Venice Biennale" Chinese National Museum curator, chief curator, Sino French culture year "in twentieth Century Chinese painting exhibition", Paris Pompidou Art Center "China contemporary art exhibition", "total the top of art consultant" series of Art art promotion activity.
December 2005 was transferred to the museum curator Chinese. With his support, Beijing Art Museum held in 2008, "Saatchi and light - Dunhuang Art Exhibition" attracted the attention of many viewers. Nearly 20 thousand daily, up to the number of viewers up to 28 thousand people.

Since the 80s of last century, Fan Dian has been running around the world's cultural community, and actively promote China's contemporary art movement and international art exchanges. After Chinese served as curator of the museum staff, he will strategically and resources this way into the Museum of art, which to show the classic art of National Art Museum of contemporary art gradually assume the dissemination and popularization of function, make contemporary art from the underground state into the official and the public.
In 2008, by the opportunity of the Beijing Olympics, Fan Dian launched a series of major Chinese and foreign art exhibition in China Art Museum, including cooperation with the Dresden Museum of art, vivid scenery through the German space art ";" Gerhard Richter Art Exhibition "and so on, have become the highlight of the annual exhibition also held for the famous contemporary artists; the exhibition, such as the" Manolo Valdes Art Exhibition "," garden Utopia -- the prospect of Art Exhibition "opened up art galleries cooperation examples; at the same time, Fan Dian actively will be the new art form is introduced to the public through exhibitions, such as" synthetic times media Chinese 2008 "international new media art exhibition opening (although the exhibition quality mixed reviews, but after all, held at the art museum is the first such exhibition). And I want to believe - Cai Guoqiang solo exhibition, no doubt during the Olympic Games for the art museum to establish a good reputation and international image.
Whether it is the exhibition planning, promotion or museum public functions, Fan Dian's goal is to make Chinese positive appearance for contemporary art, its position in the Chinese mainstream art, and western mainstream docking. He put forward that "to achieve the basic function of Art Museum, we must turn from the artist centered to the public centered", and tilt the balance of the Chinese art museum to the public.
In 2008, the Chinese Art Museum continued to hold the art gallery academic lectures, so that the public understand the characteristics of art development. Fan Dean also led the China Art Museum exhibition will be displayed around the country in order to popularize art in the general public. In his efforts, by the end of 2008, the relevant government departments have been approved for the construction of new Chinese Museum, will build a new museum in China near the bird's nest, nest around which will gradually develop into a new cultural centre in twenty-first Century. Fan Dian's actions have produced enormous social benefits and are considered to be the best curator of contemporary Chinese art to the general public.

Calligraphy is a life course of energy consumption, this will be the mark of life falls in the end." Fan Dian said. In his "Chinese Art Museum collection of works by contemporary masters of calligraphy - Volume", do a thorough analysis and study for important activities and contemporary calligraphy calligraphy works and creation phenomenon, he insisted on outstanding contemporary artists and their works of literary criticism, not only to guide for artists, but also make their own research continuously deep. He also inspired himself by studying the art and style of ancient and modern artists, making his creation more basis. At the same time, his creation in turn makes his theory verified by practice.
Fan Dian praised Wang Dongling's calligraphy, called the "ink entirely by the spirit, from the spirit of the writing of abstracts, they bring visual experience, is not a watch, but to experience a situation, a kind of feelings." In fact, as a calligrapher Fan Dian, he also focus on spiritual transcendence. His works are simple and vigorous charm is dumping, writing smooth, powerful, the majestic atmosphere, his Chinese contemporary art leader temperament and behaved most incisive mind.
The value of the artwork is ultimately determined by the artistic content of the work. And art is evolving, not static. In a style, which eventually catch the ancients, and abandoned by people. Especially the art of calligraphy, most likely to go on the wrong style, some calligraphers from young until old age, in addition to the skill slowly deep, no big change, this is a big loss. Therefore, the art of calligraphy to innovation, but innovation is not new in order to be different. Fan Dian said, with the times, grasp the aesthetic characteristics of the era of creation, to cater to the market and a taste is different, because the two different purposes, the former is to keep advanced in art and recognized by people, while the latter showed no respect for art. As long as the clear boundaries, the creation can not only keep the avant-garde, but not out of the track of artistic development. Therefore, Fan Dian's creation, can adhere to the fusion of the sense of the times and traditional culture. In the innovation of creative skills, he from a critic's point of view, the comprehensive strengths of each, with the combination of traditional techniques, works as well as simple, and otherwise a charm, self-contained in the unique style of calligraphy from ancient to modern times.
In Fan Dian's view, calligraphy is a kind of creative behavior is a way of self-cultivation. His creation is not only the practice of his art theory, but also the cultivation of inner spirit. He does not plan fame and fortune, only for a spiritual pursuit, while doing some research on his own theory. And this is a creative idea and practice to combine to make his calligraphy works not only have tricks, but beyond the rules, both look extraordinary, but also avoid the uninhibited. Each text, have strict rules and theoretical basis, but in a unique creative mood into a spirit, a kind of feeling, a kind of artistic conception.

Preface for "international contemporary sketch Exhibition"
In 2000, China Central Academy of Fine Arts and University of New South Wales, Australia, Academy of Fine Arts, Glasgow, England, Academy of Fine Arts formed an international sketch exchange project". In recent years, the three party exchange teachers held short workshops, held a small exhibition of works, also held interactive sketch teaching seminar. This is what we call "triangle exchange" project of the three institutions are benefiting. The project runs round. We held the conception of a large scale of academic activities in Chinese. With Xi'an Academy of Fine Arts, Guangzhou Acmdemy of Fine Arts colleagues discuss, together with the Academy of Fine Arts in support, decided to hold a "international contemporary sketch Exhibition", the exhibition will have on display in Xi'an, Beijing, Guangzhou and other places. "There are from three countries and more than and 10 Academy of Fine Arts sketch works, most of which come from the college teachers in the hand - this is the origin of the album.
With the further deepening of reform and opening up and the rapid development of higher education, China's various Academy of Fine Arts are expanding foreign exchanges, in various exchange projects, but also more in-depth academic level. But generally speaking, these years, in the art design specialty in the field of communication is relatively more, this is because we can see some foreign art institutions in design education to adapt to the historical experience and reality and the needs of social development. We just unfolding design education is also very need to catch up in this regard and supplement. But in the field of plastic arts, due to differences in culture and teaching traditions, the scope of foreign exchange is not broad enough, often only in the level of information transfer. In the basic education of the modeling subject, it is lack of mutual observation, discussion and learning. In fact, in the "traditional" professional disciplines, Chinese and foreign art education today has a lot of common topics need, but also worth mutual exchange, to explore. For example, there is no doubt the importance of sketch in the field, a new development in many aspects of contemporary culture, educational objectives, teaching methods, it should be said that we are in many ways is a common problem. In a western art education is generally free form, lack of basic teaching views, in fact, people have been doing sketch expression and sketch teaching and other aspects of research. However, Chinese art education attaches importance to the tradition of basic education. Today, it is not a rigid one, but a variety of academic orientation and exploration style. Only after the elimination of cultural differences on the understanding of each other, we can see each other, Chinese and foreign art education exchanges can be launched deeply. The real purpose is to be called "international" academic exchanges -- this is held in the exhibition.
An exhibition and a picture book is not enough to summarize the "international" and "contemporary" appearance, but through them. The sketch as works of art today as a teaching situation and other category features. Problems generally is clearly visible. Just as all art has the characteristics and limitations of "Modernity", the sketch has quite obvious contemporary attribute. The effect of contemporary culture and art concept on sketch and reflection in sketch make people see many kinds of sketch. It is more important. Through different appearance, orientation, concept can probe the creation psychology belongs to "thought" level, can also see this kind of "level" and "do" the observation method and performance method. In the west, Hermeneutics (Interpretation of Art), cultural theory (Sociology) and phenomenology (Art) has become a significant feature of the contemporary knowledge view, in the sketch expression and is also reflected in the sketch teaching. In other words, drawing further into the "humanities" category. In Chinese, many teachers of Academy of Fine Arts are trying to theoretically explore the sketch in the contemporary cultural background of new possibilities, some schools under a deep research work in The China Academy of Art for example, are like painting research, China Central Academy of Fine Arts design professional foundation in the teaching of "project teaching" research etc.. Both Chinese and foreign, all kinds of practice and tries to establish a new method of sketch origin, the sketch of the "teaching" and "sketch creation" has been linked to teaching theory and educational goals linked. Therefore, in this exhibition will be launched. The seminar will help from the sketch of the function, purpose, ideas, methods of deployment, really promote our teaching reform -- this is to achieve the goal of the exhibition and symposium.

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