Transmutation Of The Power Of Chinese Art Exhibition Space

With the development of society, more and more people pay attention to the spaces. Before the 20th century,the age was countered by the time. Afterwards, the contemporary era show us more and more things that could be related to spaces. Spaces are not only full of physic sense,but also full of hegemonic ideology. Spaces are not only natural products, but also products of power games, and spaces are restricted by various factors.Now the research of spaces should not only stay at the physical level, but also pay more attention to the production process of spaces. Through the interpretation of social spaces significances,we can get the relations in the production process of power games. As a form of spaces, art exhibition spaces are also like that. Art exhibition spaces have close relationships with art collection,evaluation and education function. Art exhibition spaces also have close relationships with artists' activities and art exhibition. To distinction the art works, we should not only see their own values, but also see the spaces where they are placed in. At the same time, the arts which placed in different status, have different meanings.Based on the space theory, the research of spaces is introduced into the art field. Through the research of art exhibition spaces, we can get the relationships between all kinds of power factors. The key point of the first chapter is to introduce the concept of space. Firstly, the concept of space is discussed. Secondly, the concept of art exhibition space is discussed. Since the spaces are important parts of social relationships, they must include power and capital. Based on the theory of power and capital,the most important part of the second chapter is to discuss the power and capital of art exhibition spaces. And power allocation principles are discussed in this paper. The third chapter and the fourth chapter are the key parts of this paper. The power allocation principles of Chinese traditional display spaces and contemporary display spaces are discussed in the two chapters. Ancient times, China did not have public display spaces. Traditional exhibition spaces were influenced by the emperor's power, which showed the characteristics of hidden. The most important characteristic of traditional exhibition spaces was privacy. But under the imperial power, there was another power that could not be ignored. The intellectuals as a scholar class occupied many cultural capitals. They constructed another space outside the political power. They created a unique art exhibition space—hand-rolling exhibition space. Contemporary exhibition spaces are influenced by the development of China, the democratic process and the market of the economic. Regardless of the official exhibition spaces, subculture exhibition spaces or the private exhibition spaces all change their own power strategies. Public is the main characteristic of contemporary display spaces. And it has more and more complex power relationships.