随着艺术不断走出传统的展示与创作空间, 以乡村为代表的非城市空间成为当代艺术发生的活跃场域, 并涌现出大量以“艺术乡建”为名的现象和讨论。本文以此为观察对象, 对2024年中国当代艺术的相关实践与研究进行综述和分析。文章首先梳理了近年艺术乡建的基本类型和介入路径, 指出其作为一个正在发生的现场, 既涉及“自上而下”与“自下而上”的路径转化, 也超越了艺术自身的范畴。此外, 以大地艺术节为代表的模式兴起, 显示出艺术乡建以地方为中心、跨领域协作的特征。在此基础上, 本文聚焦于相关研究中的问题意识, 从空间的 (再) 生产与地方性出发, 探讨了乡建中的当代艺术如何从中心 (如城市或美术馆) 转向地方与非传统空间, 并塑造了复杂而多重的参与主体。最后, 文章关注艺术乡建在现实运行中的困境, 诸如可持续性、社区参与和资源分配等问题既对未来提出了挑战, 也激发着新的探索与可能性。

As art continues to move beyond traditional display and creation spaces,non-urban spaces represented by rural areas have become active venues for contemporary art,and a large number of phenomena and discussions under the name of “‘rural revitalisation through art” have emerged.This paper takes it as the observation object and provides an overview and analysis of related practices and scholarship in Chinese contemporary art in 2024.The article first summarizes the basic types and intervention paths of art village construction in recent years,pointing out that as an ongoing scene,it involves both the transformation of “top-down” and “bottom-up” paths,and goes beyond the scope of art itself.In addition,the emergence of models represented by the Earth Art Festival demonstrates the characteristics of art village construction centered on the local area and cross disciplinary collaboration.On this basis,this article focuses on the problem awareness in related research,starting from the(re)production and locality of space,exploring how contemporary art in rural construction can shift from the center(such as cities or art museums)to local and non-traditional spaces,and shaping complex and multiple participants..Finally,the paper examines the challenges faced in practice,such as sustainability,community participation,and resource allocation,arguing that these very frictions not only pose difficulties for the future but also stimulate new explorations and possibilities.