Role Inversion: The Curator Takes the Stage
Role Inversion: The Curator Takes the Stage
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角色倒置：策展人走上舞台
DOI：
10.1162/pajj_a_00176
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发表时间：
2013
期刊：
影响因子：
--
通讯作者：
B. Ferdman
中科院分区：
文献类型：
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作者：
B. Ferdman
《行政程序法》第106期(2014)，第53-58页。53 DOI：10.1162/PAJJ_a_00176鉴于当代表演实践中国际巡回演出的兴起，艺术家们的生计依赖于他们的作品在这样的艺术节上被看到和制作，因此表演艺术策展人-或者也被称为程序员、主持人、艺术总监或制片人-的角色已经成为一个核心和强大的人物，无论是决定观看什么以及谁获得报酬。正如我们从法国社会学家和哲学家皮埃尔·布尔迪厄那里学到的那样，艺术和品味不是在真空中工作：艺术的价值本质上与它的中介联系在一起。通过向场域介绍文化生产的概念(文化生产本身在场权内工作)以及文化和符号资本的概念，布尔迪厄展示了审美接受是如何与艺术品的生产、营销和流通密不可分的。因此，我们可以认为表演艺术策展人是众多文化生产者中的一员，他们使表演合法化，因此不仅在传播表演方面发挥着核心作用，而且在确定其价值方面也发挥着核心作用。由于文化领域的象征性资本(好的评论、奖项、艺术节巡回演出)最终将转化为经济利润(更多的预订、佣金、驻留、讲座和研讨会)，我们可以认为表演艺术策展人是这种资本转移的调解人。与大多数实验艺术形式一样，当代表演在这个系统中运作，它积极地否认(以营利为目的的艺术)，因此通过假装不在做它正在做的事情而持续存在。或者用布迪厄自己的话说：“经济利益总是困扰着最无私的各方。”
PAJ 106 (2014), pp. 53–58. 53 doi:10.1162/PAJJ _a_00176 Given the rise of the international festival circuit in contemporary performance practice, and artists’ dependence for their livelihood on their work getting seen and produced at such festivals, it is no surprise that the role of the performing arts curator — otherwise also known as programmer, presenter, artistic director, or producer — has become a central and powerful figure, both in determining what gets seen and who gets paid. As we learned from the French sociologist and philosopher Pierre Bourdieu, art and taste do not work in a vacuum: art’s value is intrinsically tied to its mediation. By introducing the field to the concept of cultural production (which itself works inside the field power), as well as the concept of cultural and symbolic capital, Bourdieu demonstrated how aesthetic reception is inseparable from the production, marketing, and circulation of the artwork. So we can think of the performing arts curator as one of a slew of cultural producers who legitimizes and therefore plays a central role not only in disseminating performance, but also in determining its value. And because symbolic capital (good critique, an award, the festival circuit) in the cultural field will eventually translate into economic profit (more bookings, commissions, residencies, lectures, and workshops), we can think of the performing arts curator as a mediator between such transfers of capital. As with most experimental art forms, contemporary performance operates within this system, one that it actively seeks to deny (art-for-profit), and thus continually exists by pretending not to be doing what it is doing. Or in Bourdieu’s own words: “economic interests always haunt the most disinterested parties.”