January2015

南腔北调· LifeStyle

2015 年一月号 总第 372 期

A Shining City on a Hill

升禧艺廊

THE NEW MUSEUM IN CHINA

新博物馆热潮 The New Museum in China l Reflective Chateau l Seville Salvage l Designers of Hotel Uniforms l Wine Predictions for 2015

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gn Art Fashion Hotels Travel JANUARY 2015

大马新地标

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Editor’s Note

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The January cover is a shot of actress Hai Qing

Engaging in Museumification

Engagement is as much of a buzzword as buzz itself in these days of digital

overstimulation, constant distraction, fatigue with conventional marketing, and obsession with content. For consumers who barely glance away from their

smartphones, telling and even showing are not enough. Any successful marketing effort, brand, or story must engage with the intended targets. Re-enter the museum.

博物馆之兴 无处不在的数字信息，无休止的诱惑，传统营销的衰落， 迷恋快乐至上……身处这样一个时代，参与本身已经跻身时 尚之列。要吸引庞大的手机族，仅仅靠现身说法，甚至当场 演示，都远远不够了。任何营销方式、品牌或者故事，若想 脱颖而出，都必须契合目标群体的需求。博物馆热潮正是这 一思潮的反映。

Hallowed places, sacred cultural turf, and among the last places where the

pace of life slows, museums are popping up everywhere. In our secular age, museums and their celebration of man and his creations are the new churches.

While the Louvre, Uffizi, MOMA, Tate and others are the grand cathedrals of

the faith, all aspirants to cultural status seek the nearest museum and museumlike experiences. In an age, regarded as commercialistic to a fault, it is notable

that founding or supporting a museum remains the most obvious way for money

作为神圣之地、教化之地，以及唯一可以让生活节奏慢 下来的地方，博物馆如雨后春笋般出现在各地。在这个物质 大于一切的时代，博物馆以及其中的先贤名流和他们的创作 成为了新的宗教崇拜。虽然巴黎卢浮宫、佛罗伦萨乌菲兹美 术馆、纽约现代艺术博物馆、伦敦泰特美术馆等等早已是文 化艺术的圣地，但任何有志于在文化领域有一番作为的人都 不会错过近在身旁的博物馆或者类似的经历。在这个过度商 业化的时代，成立或捐助博物馆成为把金钱转化为社会地位 的方便之路。成为一家博物馆的理事标志着拥有了无上珍贵 的文化资源。

to transform into status. Membership on a museum board shows possession of

另一方面，博物馆和商业模式正在以全新的方式结合在 一起。如今每一个商业品牌或者著名酒店——从海尔到和平 饭店，都拥有自己的博物馆，有的还会配备独家品牌店铺。 这些博物馆的陈列布置也更富魅力，另到访者欣喜不已，停 住脚步，而非直奔店铺。不过后者看起来无论规模还是数量 都在增长。与此同时，每家购物中心、商务酒店或百货商店 的陈列和装置都旨在令其成为社交媒体的宠儿。这一点在缺 少著名文化场所的亚洲尤其突出。为此，各大品牌和商场争 相打造自己的文化内涵。

subject of posts on social media. Especially in Asia, with its comparative paucity

然而醉翁之意不在酒，让人们心甘情愿打开钱包才是目 的。当商品和软广告环绕四周，人们是否开始怀念过去。那 时候广告就是广告，媒体就是传播消息的机构，而博物馆无 非就是收藏文物的地方。令人欣慰的是，越来越多的传统博 物馆开始在中国复兴。本期我们将带你细细欣赏它们各自独 特的风貌。

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the most valuable cultural capital.

But museums and commercial units are meeting in new ways. Now every

brand or historic hotel – from Hai’er to the Peace Hotel - has a museum, sometimes blending with its shop. Museums also employ ever sexier displays to enrapture visitors so they don’t just bolt straight for the shops, which themselves

seem to be growing both in size and number. Larger museums like the Met have them on every floor. Meanwhile, every shopping center, business hotel, or store

has exhibits and installations that seem to aim at edifying as much as being the of established cultural institutions, brands and malls are eagerly stepping in to produce cultural content.

All of this comes with a slant and an implicit message for our wallets. With

all the content and advertorial around, we might start missing the days when an advertisement was just an obvious message to buy, media was meant to inform,

and museums were troves of cultural objects. Fortunately, the number of traditional museums in China seems to be growing in number. This issue of LifeStyle takes us on a tour.

Nels M.N. Frye 费志远 Editor-in-Chief

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january

019 速递

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品鉴

014 立式车标的乐趣

060 海清：美好依旧

英国 Louis Lejeune 出品的立式车标多见于 皇家的香车宝马和劳斯莱斯等高级轿车

即使身披各种光环与追捧，但戏里戏外， 她依旧通透如初

019 翩翩木礼服

072 李晓飞：贴近，是场温馨的焚

西班牙设计师 Tiago Valente 打造了一系列 华美飘逸的木质礼服

李晓飞的风景作品中往往反应出艺术家内 心的狂野，以及回归大自然的渴望，但似 乎又难以实现

空间

享乐

024 镜面美术馆

076 你不知道的酒店制服

法国一座平庸无奇的乡间宅第变成了波光 闪闪的当代艺术美术馆

时尚设计大咖把奢华酒店变成了争奇斗艳 的T台

028 特里亚纳陶瓷博物馆

086 瑰丽龙庭 : 舌尖上的历史

古老的陶瓷厂变成了陶瓷博物馆，似乎是 个不错的归宿

瑰丽酒店的龙庭餐厅带来的不仅仅是拥有 媲美皇家奢华的飨宴，更是一场文化气息 十足的精神浸润

特辑

094 大马新地标

036 新博物馆运动

带你探访被称为“亚洲最美商场”之一的 东南亚豪华生活体验地——吉隆坡升禧艺 廊

从上海到北京，到各省会城市，从公共馆 藏到私宅私藏，中国当下兴起了前所未有 的艺术热潮

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january

069 Curated

099

014 Car Whimsy

060 Haiqing: Beauty Can Not Be Forgotten

The last remaining hood ornament manufacturer from the Art Deco period, Louis Lejeune’s hood mascots have adorned Rolls-Royces as well as many Royal hoods

Even with all the fame on her shoulders, the offscreen Haiqing remains as beautiful and humble as ever

019 Tiago Valente - An Artist Takes Flight in the Yintai Centre

072 Running Through The Flames

In Li Xiaofei’s landscape paintings, one can see the reflection of the artist’s wild heart and desire to return to nature, but it seems difficult to achieve

Spanish artist Tiago Valente creates the “Ultimate Bejewelled Gown”

Space

Hospitality

024 Reflective Chateau

076 Creative, Sophisticated, Elegant: Designers of Hotel Uniforms

A historic French chateau receives the mirrored treatment

The best designers in the world have come together to match immaculate hotels to go along with their chic staff uniforms

028 Seville Salvage

An old pottery works receives a revival in Seville

Feature

036 The New Museum in China

From Shanghai to Beijing to provincial capitals, from public to private, museums and art appreciation in China are booming as never before

Columns 092 WineClub 122 LifeStyle Focus 128 Fabulous

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Gentry

086 The House of Dynasties: History on the tongue

The Rosewood Hotel’s House of Dynasties is not only comparable to a royal luxury banquet chamber, it can bring contemporary visitors on a trip through time

094 A Shining City on a Hill

LifeStyle visits Starhill Gallery-one of Southeast Asia’s most exciting luxury destinations

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JaNuary 2015

Design Art Fashion Hotels Travel

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每月，LifeStyle 杂志将给您奉上来自全球的最新流行前沿资讯。 LifeStyle selects the most captivating people, places and things from around the world.

新品

Desirables / P.14 潮地

Destinations / P.18

西班牙设计师 Tiago Valente 打造的木质礼服 “Ultimate Bejewelled Gown” by Tiago Valente

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新品

Desirables

立式车标的乐趣

Car Whimsy 以标识车，是马路上的乐趣之一。从纯手工雕刻 到机器大规模生产，从电镀涂装的金属到电脑时代的 平面化，车标从立标逐渐平面化经历了一段相当长的 过程，如今所剩不多的立式车标更多地成为了一种类 似吉祥物的装饰配件。 上世纪三十至四十年代，“Art Deco”装饰艺术 风行，这一艺术风格也对当时车标的设计产生了不小 的影响。英国的 Louis Lejeune 便是延续至今的立式车 标生厂商，其杰作多见于皇家的香车宝马和劳斯莱斯 等高级轿车。戴安娜王妃就曾经在自己的福特 Escot 上装饰了一只跳蛙。 发烧友可以从 Louis Lejeune 官网上购买，除了青 蛙，还有鱼、狗和马术主题的立式车标。当然，你也 可以定制一个独一无二的。 The last remaining hood ornament manufacturer from the

Art Deco period, Louis Lejeune’s hood mascots have adorned Rolls-Royces as well as many Royal hoods. Princess Diana had a leaping frog one on her Ford Escot.

Enthusiasts may purchase these whimsical items from the

company’s website or custom order one. In addition to the frogs, there are many other animals such as fish, dogs and equestrian themes, all very British indeed.

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来自“1984”的威士忌

George Orwell’s 1984 Inspired Malt Whiskey 20 世纪 40 年代末，英国左翼作家乔治 ·奥威尔在 Jura 岛（侏罗岛，苏格兰内赫布 里 底 群 岛 第 四 大 岛） 完 成 了 反 乌 托 邦 小 说 《一九八四》的大部分内容。1963 年，岛上 唯一的酿酒厂 Jura 重建，隐匿于苏格兰西岸 一隅的 Jura 岛也随之重获新生。那时岛上只 有一条小路、一间酒吧、一个商场和一家酿 酒厂。正是这唯一的一家酿酒厂创造了独一 无二的 Jura 1984 年份威士忌。 1984 年，Jura 酿酒厂推出了一批产量稀 少的单一麦芽威士忌。三十年后的今天，这 批在美国白橡木桶、葡萄酒桶和雪莉桶内发 酵出来的威士忌口味依旧醇厚浓郁，全球仅 存 1984 瓶， 且 均 有 唯 一 编 号， 每 瓶 零 售 价 750 英镑。该年份威士忌未经冷凝过滤处理， 充分保留了产生香气的各种酯类，酒精含量 体积比（ABV）为 44%。

In 1984, Jura casked a small amount of single malt

whisky and, thirty years later, Jura 1984 Vintage,

was released as a limited edition malt. Currently, there are only 1,984 individually numbered bottles

available worldwide, with a retail price of £750 per bottle.

Jura 1984 Vintage has an intense and uncensored

taste that was matured in American White Oak, Amoroso and Apostoles Oloroso sherry butt casks.

Each extraordinary bottle is non-chill filtered at 44% ABV.

Jura 1984 Vintagehonours the connection to the

writer George Orwell who wrote the novel Nineteen Eighty-Four while staying on the island. After

being rebuilt in 1963 to revive a remote community nestled off the West Coast of Scotland, Jura only has one road, one pub, one shop and one distillery, which creates a uniquely crafted mix of whiskies completely unlike anything else that’s out there today.

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新品

Desirables

土星酒杯

Saturn in a Glass 设计师 Christopher yamane 与 Matthew Johnson 经过四年研究，应用意大利传统玻 璃吹制技术，设计出防洒“土星”葡萄酒 杯。这些奇特的酒杯出自加州设计工作室 Super-Duper，当它们被碰倒时，其底部上 方宽宽的弯边会起到支撑作用，避免葡萄 酒洒出外面而产生污渍。 These clever wine glasses, designed by

California’s Super-Duper Studio, are called Saturn and one can see why.

Even if one has become a bit tipsy from the

glasses’ contents, these receptacles are spill proof, having a spinning base.

Christopher Yamane, a graphic and industrial

designer, teamed up with designer Matthew Johnson for four years of research to develop these glasses which are manufactured based on traditional Italian glassblowing techniques.

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乐高建筑工作室

Building Blocks 丹麦玩具公司乐高的“建筑工作室”最 近推出了一套新积木。这套积木包含 76 个组 件共 1200 余块，任由玩家展开想象力和创造 力的翅膀。与以往乐高积木的典型明艳配色 不同，这套积木全部为白色或透明积木块， 且本月也是它们首次登陆英国和欧洲市场。 Danish toy company Lego has launched Lego

Architecture Studio-a new set of building blocks aimed at the architecture and design community.

The Lego Architecture Studio set comprises

over 1,200 pieces of 76 unique components, from chamfered wedge-shaped blocks to simple bricks,

designed to give as much freedom and creativity to the maker as possible.

The new design, which became available in the

UK and Europe for the first time this month, has

eschewed Lego’s typical bold primary colors for a monochromatic scheme of white and transparent elements.

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潮地

Destinations

花样咖啡馆

Mirror on the Wall 在日本岐阜，Bandesign 事务所为一家咖啡店设计 了一个反射性的三角形建筑。该建筑以附近一棵较小的 树为角度基准建造， 每逢四月樱花如雪，樱花树在镜面 上反复映射，造成了一派真实与梦幻交织的错觉，醉倒 一干游人。来这里享受半日闲，最舒心不过。 This striking but still charming mirrored cafe in Gifu Japan

should be an interesting way to while away the afternoon.

Designed by Japanese practice Bandesign, the cafe is somewhat innocuous from the front but once you turn a corner, the facade resembles a discotheque.

The location is known for its cherry blossoms and the cafe

should prove to be an ideal venue to view these pretty trees.

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翩翩木礼服

Tiago Valente in the Yintai Centre 同时拥有表演和新闻背景的西班牙设计师 Tiago Valente 总能通过自己的作品从不同侧面探 索社会问题。印度之行后 , 他又从当地熙熙攘攘的特色市场中获得了丰富的灵感。在最新作品“珠 光宝气的礼服”中，Tiago Valente 打造了一系列华美飘逸的木质礼服，同时该项目也成为连卡 佛平台启动活动的一部分。 受《一千零一夜》里每个神奇故事的启发，Tiago Valente 将各种美丽的水晶与宝石嵌入礼服 上极富动态的多层次木质网结构中。飞扬的创意与令人意想不到的材质相搭配，呈现出一种不可 思议的精妙。观众可在位于大上海时代广场的连卡佛上海旗舰店和北京银泰中心看到这些作品。 After spending time in India, Shanghai based designer Tiago Valente became inspired by daily journeys

through the mysterious Indian Bazaars. This became emulated in his latest project as part of Lane Crawford’s PLATFORM initiative to create the “Ultimate Bejewelled Gown”. With a diverse background in the performing arts and journalism, the Spanish artist frequently explores sociological issues through his work.

Valente wanted to capture the emotion and sense of mystery found in the magical tales of the One Thousand

and One Nights. His visionary gown features beautiful layers of crystals and stones that are meshed with an intricate net of flying wooden structures. The multiple delicate wooden structures in the dress were combined

with materials with unexpected textures to created a dress with an uncanny dimension to it and a high-class edge. The dress can be seen in Lane Crawford Times Square Shanghai and the Yintai Centre, Beijing.

Yintai Centre, Beijing is also hosting an exhibition with other wooden works from Tiago Valente.

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潮地

Destinations 设计师 Aoto Oouchi 擅于从生活和文化 中汲取灵感进行创作，他的新媒体装置在当 今艺术界扮演着越来越重要的角色。他最新 一个作品也不例外，蕴含了丰富的社会内容。 Oouchi 生于奥地利维也纳，他的作品旨在探 索社交媒体里发生的纷繁异象。通过重复和 复制，Oouchi 希望重新思索客体在本体论意 义上被塑造的方式，还有在当代流行文化的 环境下，区分不同社会群体的各种“崇拜” 是如何产生的。Oouchi 曾是探索虚拟艺术空 间的先驱艺术家之一，他最新一个作品是一 尊雕像，看起来就像正在融化的塑料堆，你 可以从各个角度来欣赏，这也是实体画廊的 优越性所在。通过 Oouchi 的作品，这些对现

身陷“网”中

Stuck in the Web

实生活中客体如实描述的 3D 雕塑比现实更具 价值和意义。Aoto 说：“我喜欢将现实转化 为 3D 装置，并看着它们的符号意义发生改变， 再通过社交媒体重塑”。随着现代越来越高 科技化，像 Aoto Oouchi 这样的艺术家定会如 虎添翼。 New Media installations by Aoto Oouchi are

playing an even bigger role in the art world than ever before. Beijing based designer Aoto Oouchi

brings a highly inspirational take on life and culture

through his new media art. Originally from Vienna,

Austria he seeks to explore the different phenomena that occur in and through social media. Through

repetition and duplication, Oouchi believes that

it is possible to rethink the ways in which objects are shaped ontologically or how objects becomes

fetishes that define social groups in today’s pop

culture. Aoto Oouchi was one of the first artists to experiment with virtual art space. In his latest

project, he made an installation in which there was a

sculpture that looked like a heap of melting plastic.

The exhibition can be looked at from many different

angles, giving it an edge on physical galleries. With Oouchi’s work the actual depiction of objects in a 3d sculpture have a different value than in real life. Aoto

says, “I like to use these schemes to create 3D object

installations and watch their symbolic value shift and reshape by reseeding it back to social media.” With today’s modern world shifting towards an even more

technological age is it clear to see how an artist such as Aoto Oouchi is thriving.

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3D 桑拿房

3-D Sauna 由本地工作室 Partisans 设计的这座桑拿房坐 落在加拿大多伦多市北部的一座私人小岛上。它 的建成使用了三维技术扫描、建模以及构建方案， 将空间想象成一个“石窟 ”（一种经常在水边发 现的穴状体），并依此做了全面的研究，实现了 该项目。其内部参考了动态的空气流动形式，设 计运用了大胆的曲面结构，同时提供了舒适温馨 的休息区域。 Perched on a private island, north of the Canadian city

of Toronto, this sculpted sauna was constructed using

three-dimensional technology to scan, model and build the scheme. Designed by local studio Partisans, the project

was the result of comprehensive research informed by the

imagining of the space as a ‘grotto’ - a cave-like volume often found near water. The sauna’s interior boasts bold sinuous forms that reference air movements, as well as providing comfortable and welcoming areas of seating.

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潮地

Destinations

拯救东京大仓饭店

Tokyo Modern 随着 2020 年奥运会主办权花落日本，可 以预料的是，东京的城市天际线多少会发生 点变化。对于有些人来说，这可能是战后日 本现代建筑的丧钟。近期传出，日本大仓酒 店将对东京大仓酒店实施重建，以满足奥运 会期间访日游客的住宿需求。东京大仓饭店 融合了日本美学和现代主义设计的精髓，并 在 50 多年的时间里原封不动地保留了下来。 可以说，它俨然是保存有日本传统美学的时 空胶囊。时尚品牌 Bottega Veneta 的创意总监 Tomas Maierhas 发起了一项警醒计划，试图呼 吁保留这项带有不可复制的文化和历史价值 的“杰作”。 不管结果如何，对现代建筑热衷的朋友 还是开始计划一场旅行吧，趁早一探东京大 仓酒店的日式传统之美。

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An icon of Japanese Modernism, Tokyo’s

Hotel Okura is facing an uncertain future due to the upcoming 2020 Tokyo Olympics. The plan is to dramatically and brutally renovate the extant structure into yet another generic glass and steel luxury hotel.

Anyone who appreciates modern architecture and

design should visit the hotel before its demise. The

hotel is a bit of a time capsule with its circa 1962 interior and streamlined designs. There is a large Seiko clock displaying the international times-with

Leningrad still on there-and the Bar Highlander serving Mad Men era cocktails.

There is still a glimmer of hope however as many

high-profile efforts have been made to save it, from

Monocle magazine as well as fashion house Bottega Veneta.

Space

空间

开启世界各地建筑与室内设计灵感之旅。 A visual tour of practical and aesthetic buildings and interiors around the world.

建筑

Structure / P.24 室内设计

Interior / P.32

特里亚纳陶瓷博物馆 Triana Ceramic Museum by AF6 Arquitectos

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建筑

Structure

镜面美术馆

Reflective Chateau 法国一座平庸无奇的乡间宅第变成了波光闪闪的当代艺术美术馆。 A historic French chateau receives the mirrored treatment Text: Jeffrey ying Photos: Myr

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建筑工作室 Bona-Lemercier、法国当代艺术家 Xavier Veilhan 和布景设计师 Bona-Lemercier 组成的工作 团队，将巴黎东部 30 公里处一座平庸无奇的乡间宅第打造成了展示当代艺术品的美术馆，取名“城堡 Rentilly”。“城堡 Rentilly”最早建于 1529 年，二战期间被德国人付之一炬，1954 年得到重建。如今，它成为 巴黎市当代典藏中心（Frac île-de-France）的第二个永久展示场地，另一个位于巴黎市中心。 改造后的镜面外观不仅给原来略嫌平淡的建筑增加了些许神秘和独特之处，而且更加强了其与周围环 境的联系，后者在建筑表皮上都得到了映射。建筑内部原有的内墙都被拆除，以最大限度地增大空间，屋 顶也进行了重新改造，这样一来，大露台上也可以办展，顺便将室外风景如画的花园景致也尽收眼底了。 说起工作团队给美术馆换上镜面外衣， Xavier Veilhan 解释说： “这幢房子没什么特点， 但人们都很喜欢它， 它旁边的花园实在太漂亮了，我们希望它能在视觉上一直延伸至美术馆，这样，人们会忘记它的不足。”

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A collaborative team comprising of architecture studio Bona-Lemercier, artist Xavier Veilhan and set designer Alexis Bertrand

has transformed an otherwise banal French country house into a gallery designed to showcase contemporary artwork located 30 kilometers east of Paris.

Le Château de Rentilly-a chateau that was originally built in 1529, but rebuilt in 1954 after being burnt down by the Germans

during World War II, forms the second permanent venue for Frac île-de-France – (the region’s contemporary art fund) – with the other location existing in the center of Paris.

The building’s reflective façades not only adds intrigue and distinction to a relatively plain structure, but also enhances the

surrounding environment. Internal volumes have been cleared to make room for open plan gallery space with the roof also reconfigured to allow exhibitions to take place on a large terrace that overlooks the picturesque gardens.

Of the group’s decision to cover the building in mirrored panels, Xavier Veilhan explains: “The building had no qualities but

the public is rightly attached to it. The grounds are very beautiful, so I wanted to make the grounds visually enter the building, I wanted this latter to be visually erased, while keeping its design.”

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建筑

Structure

特里亚纳陶瓷博物馆

Seville

Salvage 古老的陶瓷厂变成了陶瓷博物馆，似乎是个不错的归宿。 An old pottery works receives a revival in Seville.

Text: Jeffrey ying Photos: Jesús Granada

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大多数人一想到西班牙，是弗拉门戈的 热情与奔放、是斗牛士的矫健与优雅，还有 高迪的光怪陆离……殊不知西班牙人对陶瓷 装饰已经到了痴迷的程度，陶瓷制品相当出 色。西班牙的陶瓷不仅仅在餐桌上、卫生间 里，更在大街小巷、庭院广场上，甚至在脚 下的台阶上、街角的墙壁上。虽然最初是由 摩尔人传入，但经过时代的演进，不同的产 地有不同的风格，而南部的塞维利亚是受摩 尔人文化影响最深的地区之一，所以这里的 技术和风格更别具一格。城内主要观光地沿 着瓜达尔基维尔河的两岸延展开来，跨过伊 莎贝尔二世桥，就能一览著名的陶瓷区—— 特里亚纳的风情。在巷弄间随意穿行，时不

In Seville, the fact of crossing the river and getting into Triana is like crossing an imaginary border where

the generational logic blurs. Triana is a quarter that displays itself at a small, close, almost domestic scale. It is a complex urban area which mixes neighbors’ yards, craft workshops, popular homes and other types of

housing which originated by the mid 20th century residential growth. The recently completed Triana Ceramic Museum by AF6 Arquitectos is an example of this urban rehabilitation.

Ceramic production was one of main crafts in which the development of Triana was based; there is

a strong identity between the neighborhood and pottery. One is in an area with enormous promise for contemporary architecture. In Triana one will not find new large public buildings, but instead find places for alterations or infiltrations through slight modifications, allowing us to discover new possibilities in a diverse and heterogeneous urban configuration.

The old factory kept its production until the end of the 20th century. This fact has preserved many of its

elements on the original site: seven firing kilns, a well, pigment mills, workshops and warehouses. During archaeological works, remains of other 8 kilns, out of which the oldest ones were in use until the end of the

16th century, were found. Two of these kilns have been integrated into the project. The old factory is not visible from the outside; it is hidden behind its original 19th century facade which opens up an intriguing combination of contemporary and old.

时被贴着魅力瓷砖的屋舍所惊喜。陶瓷生产 是特里亚纳赖以发展的工艺之一，这里陶瓷 工作坊林立，没有新建的大型公共建筑。最 近，由 AF6 Arquitectos 建筑事务所完成的特 里亚纳陶瓷博物馆竣工了。 博物馆由一个古老的陶瓷厂转变而来， 一直到 20 世纪末，该工厂还在正常生产。 原有的窑和工厂空间中多了一条错综复杂的 路径，引导参观者了解当地传统的陶瓷生产 过程。建筑保留了时间的印记（如砖块上的 烟熏痕迹），包括 7 个窑、1 口井、颜料坊、 车间和仓库。考古工作还发现了另外 8 个窑 的遗址，最古老的一个直到 16 世纪末还在 使用，这次陶瓷博物馆的项目就纳入了其中 两个。人们从外面完全看不到这个工厂的存 在，它隐匿在原 19 世纪的门脸之后——就 此揭开古老与现代交融的迷人风采。

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室内设计

Interior

非红即绿

Norwegian Knoll 挪威一家绿草如茵的画廊里有片超现实的神秘绿丘。 A surreal but pleasant grassy knoll in Norway Text: Jeffrey ying Photos: Per Kristian Nygård

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挪威艺术家 Per Kristian Nygård 在奥斯陆一家 名为 No Place 的画廊，打造了一个令人难以置信 的自然景观装置——“非红即绿”（“Not Red But Green”）。在冰天雪地的挪威，这一抹绿不禁让人 想起记忆中一幕幕绿意盎然的美景。微型丘陵景观表 面被茂密的植被所覆盖，起伏不平的草地铺满整个房 间，绵延不绝。 你可以说这是内部设计，也可以说它是一件雕塑、 又或是一件装置作品。这里起伏的地形是用木框架覆 以塑料薄膜，再加上 4500 立方米带有草种的厚土层 来实现的。艺术家利用挪威炎热却短暂的夏季，在展 出前几周播下草种。画廊内潮湿的环境会在接下来的 时间里为草种萌芽和生长提供绝佳条件。展出期间， 还会有专人照料草坪并每天浇水，以保持其湿润的生 长环境。 Per Kristian Nygård 一向乐于创造貌似无意义的混 乱空间，与我们常见的有意义的空间，如程式化的城 市、千篇一律的功能性物品与建筑，形成强烈对比。 在“非红即绿”这件作品中，Per Kristian Nygård 仍旧试图打造一个毫无意义的超现实空间，体现的也 不再是当代美学意义上“侵入”这种诗意的潜在破坏 性。观者会进入一个一切都不对但就是感觉舒服的空 间，直面自己内心最直观的感受。 Redolent of rolling sylvan hills, ‘Not Red But Green’ is

actually an art installation in frigid Norway. Per Kristian Nygård constructed and grew a hilly landscape of grassy

mounds at Oslo’s No Place Gallery. The grass receded into an interior room creating the appearance of a continuous landscape.

One could label this as a sculpture or installation or even a

homogenous interior. This piece had a basic but comprehensive wooden construction supporting its 4500 liters thick layer of

soil and seeds; in order for the grass to grow the installation needed daily watering and maintenance. The grass sculpture

was grown from seeds that had been planted a couple of weeks earlier during the extremely hot but short Norwegian summer.

This meant that the already damp room created the optimal growing conditions for the sculpture.

Per Kristian Nygård was interested in creating a space

for the seemingly meaningless and confusing - as a contrast to the all-encompassing meaningful and personalized we

surround ourselves with. For example the programmed urban environment, the functional objects and architecture.

In ‘Not Red But Green’ Per Kristian Nygård is trying to

make something that doesn’t make sense, a kind of surreal space. But instead by searching for the poetic potential

in the potentially destructive as is characteristic of much contemporary aesthetic “intrusions”, visitors are confronted

with their own intuitive and physical response to the experience of entering a space where everything’s wrong but feels right.

LifeStyle 33

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34 LifeStyle

别致找寻值得格外关注，特色内容专门为您料理。 Special finds deserve special attention. We serve you the main dish of each month at its best.

新博物馆运动

The New Museum in China / P.36

王澍作品——宁波美术馆 Wang Shu’s Pritzker Prize winning design for the Ningbo Museum

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特辑

Feature

新博物馆运动

The New Mus 36 LifeStyle

从上海到北京，到各省会城市， 从公共馆藏到私宅私藏，中国当 下兴起了前所未有的艺术热潮。 艺术家、出版人、收藏家和学者 分别从各自的角度出发，侃侃而 谈这场博物馆运动。 From Shanghai to Beijing to provincial capitals, from public to private, museums and art appreciation in China are booming as never before. LifeStyle takes you on a tour of artists, publishers, collectors and academics, as we explore the world of the new museum in China.

eum in China LifeStyle 37

特辑

Feature

《中国新博物馆》(New Museums in China） 一书由普林斯顿建筑出版社于 2012 年出版。 LifeStyle 与《中国新博物馆》作者 Clare Jacobsen 深入探讨 时下中国博物馆数量激增背后的力量。 LifeStyle spoke with Clare Jacobsen, author of New Museums in China, released by Princeton Architectural Press in 2012, to understand what’s driving this wave of new museums.

Museum Mania

博物馆狂人

为什么中国博物馆的发展速度如此之快 ? 能提供一些数据来帮助我们对其规 模有个基本的认识吗 ? 根据官方的统计数据：2000 年至 2011 年间，中国新建博物馆 1198 家。 这股兴建博物馆的热潮在很大程度上都得益于政府的支持。2012 年，中国 87% 的博物馆都由政府运营。2008 年到 2010 年，中国政府拨款 52 亿元用 于各类博物馆、纪念馆的建设。政府如此巨大的投入，可见博物馆之于制度 价值的重大意义。 在我看来，中国大规模兴建博物馆的现象是随着城市建设不断推进而产 生的。博物馆、歌剧院、图书馆等各类文化机构，都成为新兴城镇的标志性 建筑——就像西方国家的城市中心往往是教堂或市政厅所在地一样。无论是 政府资助的博物馆或民营博物馆，概莫能外。就上海来说，政府投资兴建的 中华艺术宫和上海当代艺术博物馆都选址在上海世博会场馆周边地区；而民 办的龙博物馆和余德耀美术馆也见证了“西岸文化走廊”的勃兴。在中国， 博物馆建成后便会在其周边形成住宅、办公及各类建筑功能区。 中国新开的博物馆都会在地理上集中于某个特定区域吗 ? 中国正沉浸在一场声势浩大的“建设”过程中，而我的研究对象遍及这个 国家的各个地区。无论城市规模大小，都有越来越多知名度极高的博物馆不断 涌现，似乎也在中国印证着“毕尔巴鄂效应”。毕尔巴鄂是曾一度衰落的西班 牙北部海岸的工业城市 , 后因美国解构主义建筑大师弗兰克 · 盖里 (Frank·O· Gehry) 设计了毕尔巴鄂古根海姆博物馆 (Guggenheim Museum Bilbao) 而闻名 遐迩。 当地旅游经济也随之被带动起来 , 整个城市也由此复兴 , 这被 《纽约时报》 形容为“一个奇迹”，也被称为“毕尔巴鄂效应”。我在书中不仅介绍了一些聚集 于中国艺术之都的博物馆，还涉及了澳门科学馆、哈尔滨中国木雕博物馆、以及 建在腾冲高黎贡山下新庄村边田野中的云南高黎贡手工造纸博物馆等零散分 布于各地的博物馆。 能谈谈当代艺术在表达中华文化方面的意义和作用吗 ? 就拿当代博物馆建筑来说吧。我认为其设计更侧重于体现全球趋势而非 某个具体的中国主题。当然也有例外，如王澍作于杭州的南宋御街陈列馆以 及贝聿铭担纲设计的苏州博物馆新馆，都实现了本地元素与现代形式的和谐 统一。但在我看来，大批新建博物馆在建筑设计方面并未体现出什么具体的 中国特色。

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Ningbo History Museum, Ningbo, Amateur Architecture Studio. Photo Š Lv Hengzhong, from New Museums in China, Princeton Architectural Press

LifeStyle 39

特辑

Feature

Museum of Handcraft Paper, Xianzhuang Village, Trace Architecture Office.

Photo © Shu He, from New Museums in China, Princeton Architectural Press

但必须承认，我的这个答案也有点精英主义意味。因为大部分入选我书 中的博物馆都是高品质建筑设计典范，而忽略了一些诸如像面中国大鼓一样 的建筑。当然还有很多非常正式且严谨地体现了中国文化的博物馆设计。但 那些犹如放大版粗略工艺品的建筑，着实无法获得很多关注，乃至尊重。 你认为未来十年中国的艺术展馆将走向何方 ? 很难预测此番博物馆建设热潮将持续多久。在不久前召开的文艺工作座 谈会上，习近平就提出了“不要搞奇奇怪怪的建筑”。这也许可以被解读为 政府将逐渐减少对博物馆建设的支持，毕竟很多博物馆本身就是一次次建筑 设计的冒险。缺少了政府的支持，这股热潮会很快终结。 不管未来走向如何，已经建成的新博物馆都为中国建筑和城市环境做出 了极为重要的贡献，也体现了这个国家未来文化表达的巨大发展潜力。在亲 身见证了这五年来中国博物馆的繁荣发展后，我对新建博物馆的发展前景十 分乐观。相信未来十年，它们会成为本地人和国际游客的首选目的地。同时， 其它许多博物馆会逐渐失去其原有功能，转型为活动场馆、大型购物中心、 餐厅或其他诸如教堂、电影院、银行、兵工厂等与博物馆完全无关的建筑形 态。这些建筑在丧失其初始功能后，会成为其所在社区的公共大厅、集散地 或新地标。

40 LifeStyle

China Wood Sculpture Museum, Harbin, MAD Architects.

Photo © Xia Zhi, from New Museums in China, Princeton Architectural Press

Why are museums opening with such rapidity in China? Can you explain this phenomenon, and

give us some numbers to help us understand the scale of these events?

According to government figures, China built

1198 museums between 2000 and 2011. This

museum-building boom is due in large part to government support. The bulk of museums in

China—87% as of 2012—are government run, and in just two years, between 2008 and 2010,

the Chinese government appropriated 5.2 billion

RMB to support museums and memorial halls.

This investment is important, as large government

expenditure indicates the systemic value that is placed on museums.

I think the museum-building phenomenon

coincides with China’s city-building phenomenon.

Museums and other cultural institutions—opera

houses, libraries, etc.—are used to mark the center of new towns and major developments, much

like a church or a town hall marks the center of a

city in the West. Both government-sponsored and

Xinjin Zhi Museum, Xinjin, Kengo Kuma and Associates. Photo © Daici Ano, from New Museums in China, Princeton Architectural Press

private museums are used in this way. Here in

Shanghai, for example, the government-sponsored China Art Museum and Power Station of Art are at

the center of development of the site of the former

Shanghai World Expo site, while the privately owned Long Museum and Yuz Museum mark the

heart of the new West Bund development. At both these sites, and throughout China, these museum buildings are constructed first; housing, office, and other buildings follow.

Are the openings of new museums in China geographically centered- e.g. primarily in a specific region?

The museums I studied are built throughout

China, as city building is occurring nationwide.

While of course there are more and better-known museums in China’s prominent urban centers,

both small and large cities seem to be hoping for the “Bilbao effect”—that is, building museums in an attempt to rejuvenate cities, which began

after Frank Gehry’s successful 1997 Guggenheim

Museum Bilbao. My book includes both museums in China’s art centers as well as museums in farflung places including the China Wood Sculpture Museum in Harbin, the Macao Science Center in Macao, and the Museum of Handcraft Paper in Xianzhuang Village in western Yunnan.

Can you help us to understand what role

contemporary art plays in articulating notions of a Chinese identity and culture?

I can speak to the contemporary architecture

of the museums. I think the design of museum buildings has much more to do with global trends than with specifically Chinese themes. There are rare exceptions

including, for example Wang Shu’s Museum of the Imperial Road in Hangzhou,

which uses a local bridge form as its inspiration, and I. M. Pei’s Suzhou Museum, which mixes local forms with Modern forms. But it seems to me the bulk of new museums are not specifically Chinese in their architectural design.

I must admit I’m being a bit elitist in this answer. As I chose museums for my

book in large part due to their quality architectural design, I ignored, for example, the museum shaped like a large Chinese drum. There are of course these very formal, very strict representations of Chinese culture in museum design. But museums that are just blown-up versions of artifacts don’t warrant a lot of respect.

What do you predict the Chinese art scene will look like in, say, 2025?

It is difficult to predict how long the museum-building boom will last. President

Xi Jinping’s recent call for “no more weird architecture” may be read as an indication that the government will pull away from supporting museum building,

as museums are some of the most adventurous architectural designs. Without government support, the boom will end.

Regardless of future building, new museums in China that have been built have

made significant contributions to China’s architecture and urban environment and offer great potential for the country’s future cultural expression. I can only speculate,

but having personally witnessed the development of all aspects of museums— not just their architecture—in my five years in China, I am very optimistic that

some of these new museums will become important institutions for both local and international visitors by 2025. I also speculate that others will lose their function

as museums and become event venues, shopping malls, restaurants, or other non-

museum-related types, much as churches, movie theaters, bank halls, and armories have been reused in the States. While these will lose the original purpose they had within their communities, they will retain their prominence as communal halls, place makers, gathering points, even orientation devises.

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2014 年，青年收藏家林瀚在北京 798 创立了 M WOODS 私人收藏美术馆。 M WOODS 致力于培养及扶持青年艺术家，为北京艺术发展注入新血液， 而他本人何尝不是中国当代艺术圈里新锐力量的代表：风华正茂、 雄心昭昭而又生机勃勃。 Owner of M Woods gallery, Lin Han has made quite an impression with the show opened this fall. More than just a new gallery owner, Lin Han represents a new type of collector- young, ambitious, and intent on injecting new energy into Beijing’s art scene. LifeStyle visited M Woods to understand what inspires him.

The Collector

艺术要启发对话

Lin Han and guests at the opening of “Pale Fire”

是什么让你成为艺术收藏人的？ 我很早就涉足商海，但艺术始终让我激情盎然。我最开始的时候只是收藏自己的 心头好，后来就想跟公众一起分享，因为艺术总能引发很多有趣的讨论，让人产生灵 感和想象。这么好的东西当然要大家分享。 作为一个类别，中国当代艺术有什么特别之处？ 我本人不太喜欢将过去和现代、中国和外国撇得那么泾渭分明。在 M WOODS 美术馆，每间展示厅都有两幅作品，以创建它们之间的对话：西方撞见东方、大家之 作邂逅后起之秀、挑衅与挑衅正面交锋……我不希望北京被视为中国唯一的艺术中心， 艺术中心还是多几个比较好。 中国艺术家、策展人和收藏家能给全球艺术注入什么别样成分？ 再次重申，我不喜欢以国籍来分类我喜欢的艺术家，以及我的美术馆。毋庸置疑， 中国和中国文化一直是一个深刻而又让人着迷的主题，全球的艺术家、策展人和收藏 家都能、而且应该参与进来。 分享一下 M WOODS 的情况，还有你的计划、策略和未来项目吧。 本质上来说，M WOODS 是我自己用来分享作品的平台，雷晚萤 ( 大家都叫她晚晚 ) 担任策展人。我们现在正筹备第二个装置，计划 2015 年春天与公众见面。我们希望 保持能擦出思想火花、富有启发性的对话，希望 M WOODS 最终能成为一个财务上 可持续发展的当代艺术平台，但又不被过度商业化。

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Inside M Woods’ unique space

Tell us about what inspired you to become an art collector- and why contemporary art in China is ever more part of social and everyday life.

I started doing business at a young age, but always found art inspiring. I started collecting some

of my favorite pieces, and decided I needed to share them with the general public. Art can start a lot of interesting discussions and inspiration; it would be unfair not to share it.

What distinguishes Chinese contemporary art from contemporary art for you, as a category?

I don’t like to make these divisions between ancient and modern, Chinese and foreign. In M

Woods, every room of the gallery is specially designed to put two works in dialogue, asking

questions of each other; West meets East, established works meeting newer artists, provocation

meeting provocation. I don’t want Beijing to be seen as the center for Chinese art, but rather as one Lin Han, curator Wanwan Lei, and guests

of several centers for art more generally.

What special thing can Chinese artists, curators and collectors bring to a global discourse of art?

Again, I want to resist categorizing my gallery and the artists I prefer by nationality; having said

which, China and Chinese culture is undoubtedly a profound and fascinating subject, one which artists, curators and collectors of all nationalities can and should engage with.

Tell us about M Woods, your vision, your curatorial strategies, and projects for the future.

Essentially, M Woods is a platform for me to share the works that most inspire me, curated by

Wanwan Lei. We are now preparing for our second installation, scheduled for spring 2015; we want to keep sparking conversations, inspiring new dialogues, and ultimately become a financially sustainable platform for contemporary art, without becoming overly commercial.

M Woods’ opening: the event of the season

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田霏宇，尤伦斯当代艺术中心馆长、2014 年纽约军械库展览会 中国焦点单元策展人，同时他还是苏富比中国当代艺术部顾问和瑞士巴塞尔 艺术博览会中国代表。本期 LifeStyle 与这位叱咤 798 的红人相约， 听他畅谈自己的艺术之旅和对中国当代艺术的看法。 Director of the Ullens Center, curator of the NYC Armory Show’s “Focus: China” show in 2014, consultant to Art Basel and Sothebys… Philip Tinari is a bonafide 798 celebrity.

LifeStyle sat down for a chat to understand his career in the arts.

The Tinari Tingle

田霏宇看中国当代艺术

Tinari and friends at the New York Armory Show, 2014

作为策展人 , 是什么让你对中国有了兴趣 ? 我 2001 年来到中国 , 正是 9·11 事件发生的前一周。我第一次看的展览是关于雕塑的。现在回想起来 , 这次 经历应该就是我在中国艺术生涯的开始。通常展览都是以短信的形式推广宣传 , 同时也有非常私密的社群团体会 去参观这些展览。我曾有幸与许多策展人一起工作，还做过翻译，也常带旅游团出入 798，那段时间的收获特别大。 中国当代艺术的社会功能体现在哪些方面？ 我认为艺术在中国所发挥的社会功能是十分巨大且影响深远的。不仅提供了厘清公众认识的机会，更让与 官方或商业化有差别的意见有了争鸣与交锋的机会。 中国当代艺术的受众有何特点 ? 从各个方面来看，政府已经意识到北京作为国际大都市应该为当代艺术提供生存发展的空间；上海则有所 不同。北京不仅有浓厚的艺术氛围 , 更汇聚了无数艺术家、许多专业院校和画廊，但专门致力于推广当代艺术的 画廊却屈指可数。 同样作为国际化大都市，你认为上海和北京的艺术发展有何差别？ 上海是更讲求效率的全球化大都市。在我们接触的人中，很多还未意识到自己对艺术的关注，这点很令人 新奇。作为一个中产阶级占主导的城市 , 上海有利于艺术的发展。 另一方面，尽管北京有很多固有的问题 , 但艺术家能够在像中国这样大的国家的首都开办展览，就意味着迈 出了走向国际的第一步，绝对是意义非凡。能否在北京站稳脚跟，都是艺术家和专业人士衡量自己的重要标准。

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在我看来，上海仍将走得更远，但北京却是个门槛更低、能海纳百川的地方。 还记得奥运会前后，北京被认为是充满希望的，空气质量似乎也有望改善，但 那段日子已经一去不复返了。 讽刺的是 , 致力于为两千万人打造国际级当代艺术殿堂的重任落在了几个 比利时人身上——比如，尤伦斯当代艺术中心的创始人们。尤伦斯当代艺术中 心将继续努力推动中国当代艺术的发展、促进国际交流、为公众呈现最具前瞻 性的艺术与文化。 为什么艺术会在中国社会产生如此影响 ? 随着社交网络深度融入我们的生活，每个社会元素都彼此交叉。就像德 国思想家瓦尔特·本雅明说的那样——“光晕”身上具有一种独特的魅力，当 艺术的独一无二性开启的距离越远时，越会赢得人们的亲近。 As a curator, what sparked your interest in China?

I came here to China in 2001, a week before 9/11; the first exhibition I saw when

I came was a collection of sculptures campus of the very first SOHO developments.

In retrospect, this time was the very tail end of the underground, or the beginning of

the professionalization of art in China and the creation of the “art world.” Exhibitions

were usually publicized by text message, and there was a very tight-knit community of people who would show up to galleries- I feel very lucky to have seen that. I worked

with curators, doing translations, and lead tour groups around 798- at that time, a marginal space.

Tinari at home in Beijing

What’s the social function of contemporary art in China and in other places and how are foreigners influencing this?

I think that art serves a very social function in China and it has for a very long time

and it continues to. It is a space for the public articulation and a discussion of ideas that works in ways that are different than official and commercial culture.

What public is being addressed by contemporary art in China?

Beijing is in many ways a problematic case; authorities are aware that being an

international city means having some kind of ecology for contemporary art. Shanghai is different, but Beijing it has a huge art scene, tons of artists, an academy, and there

are lots of galleries- but in terms of galleries specifically dedicated to contemporary

The Ullens Center of Contemporary Art, Beijing

art, there are very few.

Speaking to the idea of the global city, how do you differentiate between art movements in Shanghai and Beijing?

Shanghai is much more efficiently articulated in that globalized way. I get excited

It’s ironic that that running the international contemporary

when we engage with people who didn’t know that they cared about art; as a middle-

art institution for some 20 million people has fallen on

On the other hand, despite all of the problems intrinsic to Beijing, there is something

founders of UCCA. It says a lot about the problems in

class city, Shanghai can be a terrain for this.

inherently meaningful about making exhibitions in the capital city of a country as large as China, coming from some kind of basic conception that there is something

of a global Beijing public, you are stepping from the national to the global city as a

starting point. For better or worse, Beijing is still the center of gravity for where artists and professionals evaluate each other. I think that Shanghai is much farther along

developmentally, but Beijing is still the kind of middle ground where individuals can

the shoulders of a couple of concerned Belgians, e.g. the

Beijing. Still, we strive to be an institution articulating a public, as well as a vision of art in society.

Why has art gained in social relevance in China, for the government, for collectors, for luxury brands?

I think as our lives become more and more mediated as

come from anywhere in the country with fewer barriers to entry.

we transmit more of ourselves in social networks. There

in the period surrounding the Olympics that’s long gone. At that time, Beijing was

Benjamin would call an “aura,” with the physical presence

On the bad days, though, I recall a sense of international infatuation with Bejing

perceived as less threatening, as holding more promise; there was more possibility in the air.

ends up being this allure to the unique object, what Walter of an object in a specific place that seems more precious than it used to.

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为了对中国的民营画廊及博物馆现状有更深入的了解， LifeStyle 与上海 BANK 画廊的负责人和策展人 Matthieu Borysevicz 展开了对话。 上海 BANK 画廊与国际艺术家、画廊、藏家和组织机构等进行合作， 致力于国际当代艺术文化的展示，以将艺术渗透到普通人的日常生活中。 In order to better understand the new galleries in China, LifeStyle spoke with Matthieu Borysevicz, curator and principal of Shanghai’s BANK gallery- one of the most exciting new spaces for art in China.

BANKing

当代艺术这么近，那么远

Installation view of Ma Daha at BANK

大体上来说，从 94 年开始涉足中国当代文化到现在，当代艺术在中国有哪些发展变化？ 当我 94 年第一次来中国时，这里既没有供当代艺术展示的场所，也没有观众。“非官方”的艺术展览仍被 认为是“离经叛道”的，其中大部分捱不过开幕日就夭折了。北京唯一定期有展出的地方是王府井的中央美术学 院美术馆，观众多数是一些艺术家、艺术狂热分子和外国记者，而现在的情况可以用日新月异来形容，不管是官 方行为，还是民间活动，艺术都已经成为了社会主流。传媒和市场，房地产和奢侈品行业，老的少的，都由衷喜 欢，你翻开一本杂志，总少不了艺术方面的文章。 你曾说 BANK 努力在商业艺术和学院艺术之间走一条“中和”之道。这个策略是基于什么样的考虑？ 这二者之间经常对立区别，但时而又不可避免地交融。作为一名艺术工作者，我一直都努力避免艺术里的 商业成分，所以对于我来说很长一段时间里，金钱似乎模糊了艺术批判和理想主义层面，但自从涉足商业本身之 后，我的想法改变了。以前还有人称我为“老大不情愿的画廊主”。我对艺术与观众之间思想情感交流的潜力非 常感兴趣，而不一定是商业价值。 BANK 最初是以策展工作室的姿态成立的，国际艺术家在这里能参与各种相关活动。 我们促成艺术家工作室、其他画廊和藏家们的有趣项目，并进行扩充。不过，我们没有投资商，或者说处 于非盈利状态，要靠售卖艺术品而存活，所以我们在运营上做了些许调整。藏家希望你能代表个别艺术家——“代 表”被看成对艺术家成就的认可，可以提高其在市场上的价值。虽然我们代表一小众艺术家，但他们处于稳步上 升期，他们的作品与当代文化话语相关，我们仍然会为其举办大型专题展览，并附带艺术批评。除此之外，我们 还出书、发表文章和开展相关项目，以满足学术兴趣。

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Installation view of Ma Daha at BANK

当代艺术与艺术画廊和城市空间的关系是什 么？是否可以说艺术家和画廊提升了一个城 市的文明程度？如果是，中国与其他国家有 什么不同？ 为了让房产增值，全世界的房地产商都 试图打好“艺术家和艺术相关设施”这张牌， 中国也不例外。倒闭的工厂或废弃的仓库可 以摇身变成炙手可热的艺术社区，798 和 M50 BANK gathers a diverse range of audiences in Shanghai

创意园就是其中典范，后者还涵盖了桃浦创 意园和半岛 1919 创业园区等，它们全凭艺术 家和创意产业自身的诱惑力。这些地产商很

因素，虽然它不缺画廊和博览会，但是对艺术家的吸引力不够。与北京相比，它缺乏一

精，等到几年后这些地方房价大幅度涨起来，

个主要的艺术院校，成本高，还排外。现在情况在变，大多是自上而下的改变。新的博

再把这些艺术家们“赶”走就行了。

物馆、博览会和画廊都要吸引艺术家，由此催生了新兴的收藏家，而随着年轻收藏家成

在中国，奢侈品品牌商们在新店办展览， 同样用现代艺术作为广告和营销的手段，借

为上海艺术市场的主要力量，艺术家也随之而来了。一个城市要成为文化中心，艺术家 们创造性的基层活动是至关重要的——类似艺术的血统问题。

此在竞争中脱颖而出。上海的证大集团一贯 在旗下购物商场里开设艺术展览馆，新近开

中国的当代艺术是否只是精英们、一线城市有国际化背景的中上层阶级的专利？或者说

业的高端购物广场也纷纷办展，比如嘉里中

它的社会性能够更广泛么？如果是，策展人、文化官员、艺术家和记者们应该如何为艺

心和上海静安区的芮欧百货。事实上，房地

术搭建一个平台，使其更广泛地传播？

产和现代艺术之间的紧密联系让彼此都获益 匪浅。

我从小在郊区长大，父亲是一名木匠，我的成长过程可以说非常平民化，但我一生 大部分时间都在跟艺术打交道。我相信艺术是普世的，而且也只有这样，它才能变得更好， 但跟其他所有行业一样，当代艺术也越来越成为一门专门的学科。作为一名经常活动在

近年来，上海涌现了大量新画廊，有公共的，

公关领域的策展人，我总是在思考一些问题，比如：如何让当代艺术的受众更广？如何

也有私人的。你为什么选择上海作为 BANK

让当代艺术不再排外，跳出“白立方画廊”的局限？等等，不止是我，全球的从业者们

的驻地？是否艺术中心正从北京向上海转

都在努力。也正因为如此，艺术和艺术界在现代社会具有了前所未有的影响力。

移？这两地各有哪些推动力，政府、藏家、 艺术家等各发挥了什么样的作用？ 2007 年来上海的时候，我感觉某种东西 正在萌动，SH Contemporary 上海当代艺术博

对外行来说，理解当代艺术最大的障碍之一是摒弃“艺术是什么”的先存观念。我 的建议是，为了能与作品更自由、更开放地进行交流，你应该将“艺术”一词从固有的 方程式里踢出来。当代艺术传达了我们当下生活的种种状况——我们自己也是其中的组 成部分，所以理论上来说，理解起来应当比一幅文艺复兴时期的画来得容易。

览会和一些画廊发展日益见好，我最初搬来

当然，从消费者的角度来看，大部分的当代艺术作品都不便宜，这其实是一个你怎

倒不是因为艺术界的涨势，而是机会。与北

么花钱的问题。我买房买车之前就已经收藏不少艺术品了。我们许多买家都是首次购买

京既定的艺术圈不同，上海是一块有待描绘

艺术品的普通工薪阶层，他们对艺术的着迷和热情让他们把钱花在自己心动的地方，其

的白板，但要发展成为文化中心也有不阻碍

实真正的问题是，收藏艺术是会上瘾的，一旦开始，就很难戒掉！

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Broadly speaking, how has the audience/public for contemporary art in China evolved since you were first involved (in 1994)?

When I arrived in China for the first time in 1994 there was neither an audience nor many venues for contemporary

art. “Unofficial” art exhibitions were still considered renegade and most exhibitions were closed before or during the opening reception. The only venue in Beijing that had regular programming was the CAFA Gallery off of Wangfujing.

The audience was a rag tag consortium of mostly artists, wannabes, and foreign journalist types. As we all know this has

fundamentally changed. Art is now a mainstream affair with both the government and private sector, media and market, real estate and luxury goods industries, young and old, embracing it whole heartedly. It seems that you can’t open a magazine these days, including this one, without seeing an article about art.

You’ve said that BANK tries to split the middle between the commercial art world and the academic art world. How does this strategy play out, and what ideas are behind this objective?

There is a distinction in the art circles between what is considered academic, critical or theoretical, and that which is

seen as commercial. These two sides of the line are usually in antagonistic relation with one another but inevitably join now and again. Being an artist and critic myself I have always tried to avoid the commercial aspects of the art world. For a long time it seemed to me that money obscured the critical and idealistic aspects of art. My perspective has changed since I

am now in the business per se, but I am, as someone once wrote, a reluctant gallerist. I am interested in the potential of art to communicate ideas and emotions, not necessarily in its trade value.

When BANK first opened it was conceived as a curatorial studio, a place where a program of international artists would

engage issues relevant to the global contemporary condition. We procured interesting works from artists studios, other

galleries, and from collectors to fill out this program. However, since we have no investor or not-for-profit status we need to sell artworks in order to survive so our vision has shifted slightly. Collectors expect you to represent certain artists -

representation is seen as an endorsement of artist’s excellence as well as a support and promotion for their value in the market. While we represent a small, but growing stable of artists, we consider these artists’ work pertinent to the discourse of contemporary culture and we still put on large group thematic exhibitions with a critical bend. We also publish books and articles, and have an institutional projects going on outside the gallery which help to satisfy our academic interests.

What’s the relationship between contemporary art and art galleries and urban space? Is there a process of gentrification led by artists and galleries here, and if so, how is it different in China than in other countries/cities?

Artists and the establishments that grow up around them have always been employed throughout the world by real estate

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developers as a way to raise property values. This process of gentrification also occurs in China. The defunct factory or outlying warehouse complexes such as 798 and M50 are prime examples of this.

M50 in fact has several “products” (Taopu, Peninsula 1919, M50 Baoshan, etc.) which depend solely

on the allure of artists and creative industries for cache. They have done quite well in systematically alluring artists only to kick them out a few years later when the prices rise dramatically.

In China luxury developers also use contemporary art as an advertising strategy by organizing

exhibitions in their newly built spaces as marketing events. Art for both real estate and the luxury goods market has been a way to distinguish themselves from other brands by giving it, what they

see as a sophisticated edge. The Zendai group in Shanghai has consistently had museums in their shopping centers, while recent exhibitions in newly opened upscale shopping plaza’s like Kerry

Center and REEL in Shanghai’s Jingan district are more examples of the merger of real estate

and contemporary art. In fact the intimate relationship between real estate and art has fuelled both industries quite advantageously.

Recently, a plethora of major new galleries- public and private- have opened in Shanghai. Has there

been a shift in the art world from Beijing to Shanghai happening nowadays? Why did you choose

to base BANK in Shanghai? What are the different forces- governmental, collectors, artists, etc- in play in the two cities?

When I moved to Shanghai in 2007 there was the feeling then that things were beginning to

happen here. There was the new art fair (SH Contemporary), the longstanding biennial, and the

few galleries that were here were going strong. I initially moved here not so much that there was an upward trend in the arts but because there was opportunity. Compared to Beijing where the art

world was quite established, Shanghai was a clean white slate. But one of Shanghai’s major obstacles

in becoming a centre for culture isn’t its lack of galleries or fairs, it is its lack of appeal to artists.

Compared to Beijing, Shanghai has always been perceived as too expensive, too unwelcoming for outsiders (waidiren), and absent of a major art academy.

This is changing, mostly from the top down. The new museums, fairs, and galleries have been

instrumental in attracting artists but so have the newly emerging collectors here. A growing circle of young collectors have been the major force in bringing the market to Shanghai and with it have come

artists. It is extremely important that there is creative grassroots activity by and from the artists in order for a city to have sustenance as an artistic centre. They are the bloodline for the arts.

Is contemporary art in China destined to be of relevance only to elite, first-tier city upper-middle

class globalized audiences, or can it be of broader social relevance? If the latter, what strategies can

curators, culture ministry officials, artists and journalists use to build a platform for art to become more broadly disseminated?

I come from a very modest upbringing. I grew up in the suburbs and my father’s a carpenter yet

I have been engaged in the arts most of my life to the point that it has become my life. I believe that the arts are universal, and for art to be good it has to communicate on a universal level. Unfortunately like all industries, contemporary art has becomes more and more a specialised discipline. As a

programmer, often in the public sphere, I am constantly thinking about these issues- How to make

contemporary art accessible to a larger audience?, How to create points of entry to the work? or, How to get contemporary art out of the exclusive digs of the “white cube space”? This is something that is happening not only with my efforts but by practioners the world over. In fact due to some of these efforts art and the art world has never been bigger and more influential in modern history.

One of the biggest obstacles to understanding contemporary art is for a non-acquainted audience

to get over their pre-conceptions about what art is. My suggestion is for people to take the word

“art” out of the equation in order to engage with the work more freely and openly. Contemporary art addresses our contemporary condition of which we are all a part of, so it should theoretically be easier to understand than say, a renaissance painting.

Certainly from a consumer point of view, most contemporary art isn’t inexpensive but then again it

is a matter of priority. It is a matter of how you choose to spend your money. Before I owned a home

or a car I had already collected a bunch of art. We have sold art to many first time art buyers who have modestly paying jobs but who are intrigued and passionate enough to put their money where Stephen Wrught lecture “Usership”

their heart is. But the problem is collecting art is addictive, once you start its hard to stop!

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法国籍的 Jeremie Thircuir 是出版商、策展人、收藏家、评论家。 2011 年，他创立了一家图书出版公司，致力于向西方世界传播 中国艺术与文化，至今，已推出了一系列中国顶尖摄影师的袖珍图书。 Jeremie Thircuir, publisher, collector and critic, reflects on a life spent in the Chinese art world

Merci Pour Ce Moment

艺术不是大众消费品

这么多年来，你眼中的中国艺术界有什么发展变化？ 当代艺术的观众有了巨大的变化。我初次来中国的时候，这里的当代艺术圈还主要是“西方世界”，画廊 主要么是西方人，要么就是台湾人或香港人，只有艺术家是中国人，相关的机构也几乎为零，大部分活动靠商业 利益驱使。也正是这个原因，许多作品都非常花哨，只为博个噱头，十分表面化。当然，我是在上海落脚，我说 的情况也许不适用于北京，北京总要前卫一些。 你为什么选择创办出版公司，而不是画廊？区别在哪？有什么方法可以平衡，或者说兼顾商业项目里的艺术成分？ 其实旅行回来后，很自然地，我就产生了要开一家出版公司的想法。西方人对中国及其中国当代艺术的漠 视让我惊讶不已。不能说不好奇，但媒体所有的注意力都集中在一两个艺术家身上，跟我实际经历的相差甚远， 所以我就想创建一个平台，拓宽人们的视野。开画廊需要更多预算，而且只能固定在一个地方，吸引特定的收藏 家；出版公司不一样，它能让我出现在更多的地方。不过，在欧洲开实体店也很重要，这样小城里的法国人也能 买到我们的书。 说到平衡，我把出版公司的规模控制得很小，这样成本最低，而且在面对兴趣不大的商业项目时，不至于 太被动。我觉得现代社会的信息超负荷了，从金钱角度来说，以数量取胜和争取最大的佣金会获得更大回报，但 我更倾向于出版自己想要出版的东西。 中国与欧洲相比，艺术的接受情况有什么不同？这种不同对城市发展有什么影响？ 与其他国家不同，中国的情况很有趣。在法国，去看艺术意味着去博物馆瞻仰艺术家的遗作，逛画廊只是 小部分人会做的事，而中国艺术画廊拥有的观众比博物馆多，比如 798 就是北京第三大人气观光地——意味着展 出的艺术品都是工作室新鲜“出炉”的，这点很特别。这边的博物馆有点像大规模的艺术画廊，只是藏品不多。

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说到艺术和城市的关系，我觉得艺术“占 领”了北京很大的地盘，东北部有大量的艺 术家工作室和艺术工厂，而且产出颇丰。我 觉得这给北京经济带来了相当积极的影响。 当代艺术还是精英们的专享么，如果不是， 情况有什么变化？ 无论何时何地，艺术主要还是文化和经 济上层人的消费品，要扩大它的受众只是一 个美好愿望。你办一个艺术展，当然希望人 人都来看，但最终只会出现某一类人群。我 觉得开办博物馆非常好，过去几年里，去观 展的观众人数大大增多了。 What evolution have you witnessed in the Chinese art world?

The audience for Chinese contemporary art

changed tremendously since I first came here.

When I first arrived in China, contemporary art

was mainly a western world, only the artists were Chinese. The gallerists were westerners

or from Taiwan or Hong Kong. There were almost no institutions, and the scene was mainly

commercially driven. Because of that, many of

the works were quite gimmicky and superficially

Chinese. When I arrived I was in Shanghai, so

Jeremie Thircuir, founding director of Editions Thircuir

what I saying may not apply to Beijing which has always been more edgy.

Why did you choose to do a press, rather than a gallery? What’s different here? What are

the ways to balance artistic credentials with commercially-driven projects?

The idea of the press came to me quite

naturally, when I was travelling back home. I was surprised to see how people were ignorant

about China and its contemporary art scene. There was a huge curiosity, but all the media attention

was focused on a couple of artists and was really far from what I was experiencing in my daily

activities. The idea was then to create a platform to broaden this understanding. Opening a gallery requires a much bigger budget and only targets

a certain audience of collectors, as a gallery is a local structure. The publishing house allows me to be present in many more locations. I also think it’s

important to be physically in Europe, the fact that a French guy in a small town can buy my titles

Regarding the balance, I keep the publishing

house really small with minimal costs; in this

way, I can be free of any commercial pressure and don’t really have to do commercial projects I’m

not interested in. I think we are in a society overloaded with content. Even if financially, playing the quantity card and trying to get a maximum of commission would be more rewarding, I prefer to decide what I want to publish.

What are differences between how art is received in China and Europe- and how this impacts the city’s development?

China is very interesting for this. Unlike other countries, art galleries have a stronger

audience than museums. In France, going to see art means going to a museums where

dead artists’ works are displayed. Galleries are only visited by a small minority of the population. In a city like Beijing, 798 is now the third most visited place of the city. It

means that most of the art being seen is fresh from the studios, which is something quite unique. Even the museums here operate like overscaled art galleries without collections.

Regarding art and the city, I think art occupies a large proportion of Beijing. A huge

part of the north-east is occupied by artists’ studios, art-factories and due to the scale of the

projects produced by the artists, I think the art scene has quite a great impact in the city’s economy.

Is contemporary art a luxury elite category? How is this changing, if it is?

Art anywhere in the world and at any period of history is mainly received by cultural or

financial elites. The idea of broadening its reception is only a matter of intention. You can show art with the intent of reaching everyone but only a certain category of people will

show up. I think the movement of museums openings is quite good and that the scope of audience has been widely broadening over the last years.

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香港学者潘律的新书《美化公共空间》即将面世。 本期 LifeStyle 有机会与她深入探讨画廊外的街头艺术。 Ahead of the publication of her upcoming book “Aestheticizing Public Space,” LifeStyle spoke with Hong Kong-based academic Pan Lu about art outside of the gallery.

Bringing Art to the Street

让艺术走上街头

Street Art in Seoul, Jungwon

French artist JR in Tokyo

能谈谈亚洲的街头艺术吗？为什么会这么吸引你？ 对亚洲的涂鸦和街头艺术的好奇心，令我流连于这片土地。我从日本朋友那里知道了横滨的樱木町，又从 韩国朋友那里听说了釜山的 AGIT 和首尔的城市艺术项目“Urban Art Project”。2012 年，法国街头艺术家 JR 带 着自己的照相亭概念造访香港，我还参加了他的“Inside Out”项目。参与过的活动和遇到过的每个人都帮我拓 宽了自己的研究领域。 与画廊里的艺术相比，街头艺术在走近大众时有哪些优势？为什么有些艺术家选择走上街头而不是走进画廊 ? 首先 , 我觉得很难说这些涂鸦者是不是自己愿意被称为“艺术家”。在涂鸦圈子里 , 他们更愿意说自己是一 名“作家”（Writer）。其中一部分作家有平面设计背景或接受过与艺术相关的培训 , 但也有很多人从未接受过 任何艺术教育。东亚地区最著名的作家之一，VERY 一直在日本大阪做 DJ, 后来才开始涂鸦创作。我发现他们与 市场总有着微妙的联系。一方面 , 博物馆和艺术画廊不是这些涂鸦作家作品的最终归宿，这也是与一般艺术家作 品的不同之处。当然，他们中间也有和艺术画廊保持良好合作的范例。2005 年 , 日本茨城县水户市曾举办过一个 名为“未来色彩 : 日本涂鸦艺术”（X-Color:GraffitiinJapan）的展览 , 我发现当时最活跃的涂鸦作家和街头艺术家 占了参展名单中绝大部分。很多涂鸦作家都有自己的事业且多涉及商业化的涂鸦设计 , 但城市的公共空间和街道 才是他们最好的画布。另一方面 , 涂鸦是否是一门艺术的争论还在持续。此外，作品欣赏者也是一个重要因素。 相对于艺术画廊来说，街头视觉作品需要更加开放且非程式化的观众群体。用整个城市作为展示作品的画廊，参 观者是身边不可计数的路人——这是让涂鸦作家选择留在街头的重要原因。 香港地区和大陆其他城市的街头艺术实践有何差别 ? 街头艺术比其他传统艺术更具“都市感”吗 ? 即使在香港商业化的娱乐业中已颇具名声 , 但诸如涂鸦和街头艺术这样的亚文化产品依旧是十分边缘的艺术

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形式。香港的公共空间多被填塞于拥挤的生活休闲空间和商圈之间，且为商业 广告所占据。香港公共环境中随处可见安保人员、公共空间被过度监控的另一 个原因是私营企业的不断崛起。 说到街头视觉作品的“城市化”问题（我总试图澄清，街头视觉作品不 一定是艺术）, 我想举香港的两个独特案例——“渠王”和“九龙皇帝”。渠 王，原籍深圳，原名严照棠，是香港一名男性通渠匠。他的手绘涂鸦广告在香 港随处可见，深入民心，已经成为了香港集体回忆的一部分。农民出身的渠 王是家中长子，因饥荒十多岁就从大陆偷渡来到香港，曾做过建筑工、水电 工。为了争取更多生意，他开始在香港街头用白色油漆涂写“渠王通渠免棚 92263203”。极具个性的字体风格使“渠王”跻身涂鸦作家之列。就某方面来说，

The work of Charles Mok, the late “King of Kowloon”

渠王与另外一位 1960 年代以来便以其独特笔迹在全城留下印记的“九龙皇帝” 如出一辙。香港很多地方均有他的笔迹，行文多讲述自己及家族的过往事迹， 宣示对九龙“主权”。起初九龙皇帝的“作品”也多招世人嘲笑与无视，后被 艺术家们“发现”，随即升级为“艺术家”。此二人的作品都为我们找到了思 考人与城市、艺术与日常物品之间关系的独特视角。这也让我想起了现在中国 大陆很常见的一个有趣现象，那就是随处可见的“办证”。我特别好奇它们将 来是不是也会成为一种艺术。最近还在柏林墙看到了两个汉字呢。 Tell us about street art in Asia, why it fascinates you so much.

My curiosity about Asian graffiti and street art has inspired my frequent travels

around the continent. I learned from my friends in Japan and Korea about the existence

and history of Sakuragicho in Yokohama, the AGIT indie art space in Busan, and the Urban Art Project in Seoul. I also participated in the Inside Out Project of JR, a French

street artist, when he took his photo booth concept during his visit to Hong Kong in 2012. All these events and the people I met encouraged me to expand my research beyond the Chinese and Hong Kong contexts and to embark on an adventure.

What potential for reaching audiences and publics does street art have that work displayed within the confines of the gallery lacks? Why some artists take to the streets instead of galleries?

First of all, I think it is difficult to say whether these graffitists would like to call

themselves artists or not. Although some of writers do have graphic design or artrelated training background, there are also many who haven’t received any art

education. For example, one of most famous writers in East Asia – VERY (weibo: VERY1HS) from Osaka, Japan has always been mainly working as a DJ, and then

took up graffiti writing. In my research, I found that they have a subtle relation with the market. On the one hand, unlike artists, museums and art galleries are not their

final destination. Of course also have experience in working with art galleries (e.g. in 2005, Mito City in Ibaraki Prefecture in Japan held an exhibition named “X-Color: Graffiti in Japan”, where I found most of the most active writers and street artists in the

participant list), and some also run their own business that is related to graffiti design for commercial use but their best canvas is the city per se: the public space and streets.

On the other hand, the debate on whether graffiti is art has always been on-going.

Another thing I want to mention is the audience: street visuals expect a much more

open and much less institutionalized audience than artworks in galleries do. I think that excitement of reaching out to the whole city as your gallery and the whole urban dwellers as your spectator makes writers remain on the street.

How do street art practices differ between HK and mainland and other cities? Is street art ‘urban’ in a way that perhaps more conventional work is not?

Despite being famous for its commercial entertainment industries, subcultural

forms in Hong Kong, such as graffiti and street art, are marginal and much less visible.

In Hong Kong, the public space is predominantly occupied by commercial advertisements packed in a highly congested

living, business, and leisure space. The government had been

deeply involved in issues such as hygiene, the concept of a “modern” lifestyle, urban visual order, and taxation. The

growing power of private corporations over Hong Kong’s public space is another reason for the over-surveillance of Hong Kong’s public environment, which is commonly monitored by a considerable number of security guards.

Talking about the “urbanity” of street visuals (not

necessarily art, as I try to argue), I would like to introduce two unique cases of public writing in Hong Kong: the legends

of two “kings,” namely, the “King of the Sewers” (quwang) and the “King of Kowloon.” The “King of the Sewers”

illegally migrated to Hong Kong from Shenzhen in his teenage

years, and eked out a living as a construction worker and an apprentice in a plumbing and electronic repair shop. He later became a leading self-employed sewer man. To save

on advertising costs, he opted to paint his self-designed ads all over Hong Kong’s slopes, electric lighting posts or drain covers, promoting his service with very concise information

and his telephone number, 92263203. Given that many of these advertisements were written in a characteristic font and

style, the name of quwang was unmistakably linked to a single

“writer.” The pervasive advertisements aroused the interest of local photographers, who launched a project to identify the “mysterious” street “king,” who has become a highly

influential person in Hong Kong’s everyday visual perception of public space in 2008. Meanwhile, “King of Kowloon” is a veteran graffitist in Hong Kong who has been writing about his

personal history and that of Hong Kong using his paint brushes on the surfaces of various public facilities since the 1960s. He

was firstly laughed at, ignored, and then “discovered” by artists and made into “artist” in the end. The calligraphy of “King of

Kowloon” now almost becomes a popular icon of Hong Kong culture. Their writings opened up new perspectives for us to

think about not only the relation between human and the city,

but also between art and everyday objects. This also reminds me of interesting things that are going on in Mainland China

now. I am particularly curious about whether the omnipresent “ban zheng” writings in China would develop into a kind of art or not in the future

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Museotel

酒店里的 缪 “斯神庙 ”

西安，古称长安，是中华文明和中华民族的重要发祥地。618 年李渊建立唐朝，定都于此。在西安威斯汀酒 店 , 历史与现代交融，艺术也不仅仅是一种装饰。这家由如恩设计研究室打造的时尚酒店以“博物馆 + 国际酒店” 的模式将西安曲江艺术博物馆纳入其中，不仅在中国是独树一帜的尝试，在世界范围内也是一种更为平衡的艺术 发展策略。除了有来自南京博物院的借展瓷器，博物馆的自有藏品也颇具价值，如约 1400 年前的北齐石佛头、 中国已知的唯一一套金质铠甲（由 21 件口唇纹鳞形金饰片、2 件云纹圭形金饰片和 2 件兽面纹盾形金饰片组成， 距今约 2700 年）。穿梭于完美诠释中国现代风尚的酒店与展现中国古代先贤智慧的博物馆之间，任谁都更易遥 想彼时长安盛景，都能更深入地领略中华文化。值得赞赏的是，很多优秀的酒店业者都开始清楚地认识到，对历 史之美的重新审视与反思之于当下奢华生活的缔造有着十分重要的意义。 At the Westin Xi’an, art is more than an adornment; the stylish hotel, designed by Neri & Hu, houses the Qu Jiang Art

Museum, one of the finest spaces for contemplation of Chang’an’s glorious past in Xi’an city. Kudos to these hoteliers,

who have recognized more clearly than nearly any of their counterparts that aesthetic appreciation and meditation on the artifacts of the past is central to contemporary luxury living. Xi’an, cradle of the T’ang dynasty and some of the most

brilliant masterpieces created in China, is a perfect place to explore tradition, from the porcelain pieces on loan from the

Nanjing museum, a 2,700 year old suit of golden armor (the only one discovered in China), and a stone Buddha head that is

1,400 years old. As you emerge inspired by the genius of ancient China, you’ll step into a hotel that exemplifies the modern Chinese style at its best. The Westin Xi’an is truly leading the way not only in China, but globally in a balanced and careful arts strategy.

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上海双年展始创于 1996 年，是中国历史最悠久、最具影响力的国际当代艺术双年展。 与台北双年展和光州双年展一样，它已经成为了亚洲最重要的双年展之一——颠覆了 传统的博物馆运营模式，让艺术成为与生活密切联系的盛事。 The Shanghai Biennial, first launched in 1996, is arguably China’s most relevant biennial, and a major event on the international art world’s calendar. Along with similar events held in Taipei and Gwangju, it’s one of the foremost expressions of the biennial impulse- a subversion of typical museum strategies that makes art into an “event.”

The Social Factory

上海双年展社会工厂

Amazing artists came together for the Shanghai Biennale to display their work at The Power Station of Art Museum

虽然每届的主题都不同，上海双年展始终以上海城市为母体，聚合最优秀、最新锐的国际策展人和艺术家 资源，探讨都市文化、当代艺术和社会公众的互动关系，成为每两年一次集结于上海的大型国际当代艺术品的展 示与交流平台。 2014 年第十届上海双年展于 11 月 22 日揭开了神秘的面纱。这也是上海双年展与上海当代艺术博物馆的再 度携手，展览将一直持续到 2015 年 3 月 31 日，展示 70 多位艺术家近 100 件 / 组作品。此届双年展以“社会工厂” 为总主题，旨在重新衔接艺术与社会的关系，拆除长期以来横亘在艺术和社会之间的藩篱，建立起两者的双向通 道——艺术可以是社会事实的结晶，社会可以是艺术生产的结果。宣传小册子里还引用了梁启超 1902 年在《论 小说与群治之关系》的观点：“其（小说）为用之易感人也又如此……既已如空气如菽粟，欲避不得避，欲屏不 得屏，而日日相与呼吸之餐嚼之矣。于此其空气而苟含有秽质也，其菽粟而苟含有毒性也，则其人之食息于此间者， 必憔悴，必萎病，必惨死，必堕落。”时隔一个多世纪，先生的高论娓娓读来，仍适用于当下艺术与文学的意义。 成立于 2012 年 10 月的上海当代艺术博物馆是中国大陆第一家公立当代艺术博物馆。它坐落在黄浦江畔， 占地 4.2 万平方米，展厅面积 1.5 万平方米，内部最高悬挑 45 米，其中高达 165 米的巨大烟囱是上海的城市地标。 上海当代艺术博物馆的前身是始建于 1897 年的南市发电厂，它不仅见证了上海从工业到信息时代的城市变迁， 也挥别了对能源无度索取的过去。其粗砺的工业建筑风格更是为艺术家创作提供了诸多灵感。2010 年，主厂房 被改造成为上海世博会的城市未来馆，烟囱被改造为具有标志性的城市体温计。随着世博会的结束，城市未来馆 又被改建为今日的上海当代艺术博物馆。

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作为上海最顶级的当代艺术公众分享平台， 上海当代艺术博物馆搭建起当代艺术与民众之间 的沟通桥梁，是国内外当代艺术优秀成果的交流 枢纽；它努力消除艺术与生活的藩篱，促进不同 文化艺术门类和文化之间的合作与交流，让艺术 成为都市生活的重要组成部分。上海双年展就是 其优秀成果之一。 Every two years the Biennial changes its theme.

It typically focuses on Shanghai-based artists as

well as international curators and artists who are highly influential in the art world. These inspiring

artists explore the connection between urban life,

contemporary art and the public. The Shanghai

Biennial has also become a large-scale platform

in Shanghai for the exchange and exhibition of contemporary art pieces.

The 2014 Shanghai Biennial returned to the

Power Station of Art, China’s first state-sponsored

contemporary art museum, for the second time-

Anselm Franke, The Chief Curator for The 10th Shanghai Biennale

anecdotally, the power station of art was named in a

negotiation between 9th Biennial curators Boris Groys

and Qiu Zhijie. Themed upon the idea of the “Social Factory”, the 10th Biennale asks what characterizes

the production of the social, and how “social facts” are constituted. The exhibition pamphlet included a

stirring quote from Liang Qichao, who wrote in 1902 “Since we are in contact with fiction every day, its quality affects us just as the air we breathe and the food

we eat; if the air is polluted or the food contaminated, those who live in this environment will certainly

languish, fall sick, meet with tragic death, or fall into moral degeneration.” Written over a century ago, these words couldn’t be a more timely reminder about the significance of art and literature today.

Renovated from the former Nanshi Power Plant, the

An exhibit titled, “Social Factory” during the 10th Shanghai Biennale

PSA was officially established as China’s first state-run contemporary art museum in October 2012. Nowadays,

this 42,000 square meters art space is home to one of

the largest collections of contemporary art in China with an additional 15,000 square meter exhibition section and a 165 meter chimney standing tall along other skyscrapers in sight, decorating the famous

skyline of Huangpu River. It’s a truly innovative reuse of the former grounds of the Shanghai 2010 Expo.

With free entrance for most of its exhibitions, the

museum is well-known as Shanghai’s top public openplatform of contemporary arts appreciation and the

main art exchange hub between different schools of art

and culture both locally and internationally, celebrating contemporary arts as an essence of a dynamic urban

life with its gatherings and exhibitions, such as The Shanghai Biennale.

The exterior of The Power Station of Art Museum in Shanghai, China

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品味优雅，鉴赏尊贵！ Savour luxury, fashion, art, music and the minds that create it.

海青：美好依旧

Hai Qing: Beauty Can Not Be Forgotten / P.60

American Rag 店内展示 Curating Brands with American Rag

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F o r g o t t e n 随着几部颇受好评的热播电视剧，海清逐渐声名鹊起，一度成为炙手 可热的荧幕明星和具有极佳口碑的收视女王。时隔至今，即使身披各 种光环与追捧，但于戏里戏外，她依旧通透如初……

Over time, Haiqing’s fame has grown from her several roles in acclaimed TV series. She is now on her way to becoming one of China’s hottest female stars with an excellent reputation and the title, ‘The Queen of Ratings’.

However, even with all the fame on her shoulders, the off-screen Haiqing remains as beautiful and humble as ever.

Text: Kelly Hao

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她是与婆婆斗争到底的泼辣上海女孩，也可以是善良可爱的中国媳妇；她是自命清高的 70 年代女性，也可以是努力拼搏 的新时代“房奴”。出道十年，海清迎来了自己影视业上的一个高峰。在如今竞争激烈的中国电视市场，海清已成功跻身国内 一线女星的行列，并无可争议的成为中国电视剧收视率的“宠儿”。面对着各种奖项，与诸多溢美之词，海情依旧冷静清醒。 在她看来，自己或许只是个运气很好的演员，正巧自己演绎的角色受到了大多数人的喜爱与认同，自己才能因此赢得这些荣誉。 居高不下的收视率也自然让海清接戏不断，从电视剧到电影，海清一直没闲着。而这次，海清一改往日小媳妇的形象，接 演了战争戏《二炮手》里面的东北大妞一角。她说 , 考究的年代场景，战争场面的严谨还原，紧凑激烈的对峙情节，使该剧有 着不同以往战争剧中最为突出的特点，而每个剧中人物的存在，都承载着独特鲜明的人物特征，这次她主演的东北妞李娴淑也 是如此。海清还坦言，与孙红雷在这部剧中在再相聚，实现了再度合作的夙愿。拍戏现场也是欢笑不断，非常愉悦。每一部剧， 每一部戏，她都极为用心，用“海清式表演法则”总是能让观众看到演绎的淋漓尽致的一个个角色，又能在角色身上或多或少 的看到海清的影子。或许这正是她打动观众的法宝吧，完美的演绎，却又不失真实。 戏里，她情感丰富，风格多变；戏外，她坚守初心，纯朴亦美好。如她所说 “风来过就任它吹，雨来过便任其下，风雨 里她始终在那儿，还是最初的那个演员海清。”一如其名，她犹如大海般，柔和中微荡着涟漪，令人神清气爽。这份美好，让 人羡慕更向往，愿长存于心间。

对话海清 先简单介绍一下剧中饰演的角色吧 我饰演的是一个叫李娴淑的女孩。她是地主的女儿，但因在海外留学的背景使她成为了一位进步的新时代的知识女青年。 您曾经在《落地请开手机》里跟孙红雷老师有过短暂的合作，第二次合作，感觉跟多年之前的合作有什么不一样或者一样的地 方吗？ 我觉得有一点是一样的，就是还是什么话都可以说，然后没有任何芥蒂，他说我听，我说他听，对的他做，对了我做。我 觉得这个关系特别简单，然后我觉得还有一点就是红雷还是像以前那么认真。那时候拍《落地请开手机》的时候，我就觉得这 个男演员真用功，现在依然如此，我觉得他没有什么变化。 这次跟孙红雷老师两个人的合作，包括康导在一起，然后应该会加入很多亮点或者碰撞出很多火花来吧？ 对，肯定的！我们这几个都不是省油的灯，所以每天在现场的时候，在理解剧本的基础上，我们都会对角色有自己的一些 想法，征求导演最后的定夺，我觉得导演给的方向非常准确。 此次在《二炮手》中的合作，两位老师其实也是有一种说不清道不明的复杂关系是吧？ 这样的戏都会不可避免的绕不开一个男女的爱情线。其实在那样的一个年代，我们不敢去定义说这些人发生的事情，到底 是什么样的感情。可能这两个人之间的感情不仅仅是亲情，大于友情，和爱情的界定不那么明确，又将爱情包容在其中，它是 一种很奇妙的感情。这种感情对创作者来说，多少有一点理想化的。现实中，可能我们剧本人物发展到这个地方，爱情就一定 都会发生，但我们人为地没有这么做，而是想用这样的方式去诠释在战争年代下，人物真正质感上的情感。 之前也听您说过，演员就像一个小孩，不能给他同一个玩具，要给他新鲜感。那这次您饰演了这个角色之后，觉得跟以前的相 比的颠覆和突破是什么？ 我之前其实对于战争戏，真的挺抵触的。我不知道一个女人在里面能有什么样的定位，我挺迷惑的。一个女的在战场上面 叱咤风云，我根本不相信。我想一个女的在战争题材里面，可能最多承载的也就是爱情这一个分量的定位。但我没想到的是， 她不仅仅承载了战争和爱情，还承载了一些其他的。我觉得这一点的确是跟别的戏不一样的地方。 您会不会觉得自己事实上跟这个角色有什么相同的契合点，又或者演起来的话 , 会不会跟这个角色有一些心理上的代沟？ 跟角色之间的距离，在戏外的时候挺大的，挺麻烦的，这个戏困难的不是剧。我是要去捋她为什么这么做，我很多时间是 琢磨李四到底是什么样的一个人，我琢磨编剧为什么要这么写她，我更多的时候是想的是这个。所以这样一想，反倒现场去看 台词的时候会更加清晰。因为你知道她心里是怎么想的，她对每个人的态度，她是什么样的女孩，她在乎什么，不在乎什么， 她软肋是什么，她喜欢什么，憎恶什么，我想的更多是这个。

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H a i Qing

has the ability to play all kinds of roles, from a bold Shanghai girl struggling with her mother to a kindhearted Chinese wife, or even the independent women of the 70’s

era. Ten years after her acting debut, Haiqing has entered

the peak of her career in film and in the television industry.

Regardless of the vagaries of the market, Haiqing stands strong among China’s A-list actors, with an undisputed reputation as the ‘Golden Girl of Ratings’.

The talented actress considers herself lucky. She

believes that her talent has been welcomed by audiences with love and recognition, which has led to her many

honors and awards. The consistently high ratings of her work has also naturally earned her a lot of other

opportunities. Over the past few years she has always

been associated with the younger generation. Recently,

she played the role of a young North-Eastern girl named Li Xianshu in “The Legendary Snipers” TV series.

In the drama’s sophisticated scenes, the rigors of

war were recreated alongside a fierce plot, making it a

gripping war drama. Haiqing admitted that in this drama she fulfilled her wish to collaborate one more time with

her acting guru Sun Honglei. Sun Honglei says, “Laughter filled the room during each shooting session. Haiqing’s

acting was always genuine, she was always thoughtful in every scene.”

With her unique screen presence which audiences

know as ‘Haiqing’s style,’ she has shown the audience her indisputable acting ability along with her own strong

personality, winning over the audience’s recognition.

Unlike her expressive on-screen personality, the off-screen

Haiqing remains sincerely reserved; she is elegantly simple. As she said: “Let the wind blow, let the rain fall, it

doesn’t matter where they come and go, I will still remain the same Haiqing, the actress.” As her name suggests,

literally translated as “The Clear Sea,” she is like a grand

ocean with refreshingly calm tides crashing on the shore softly. Her admirable beauty will forever remain in our hearts.

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Dialogue Could you briefly explain the role you are playing in the drama?

I play a girlish character called Li Xianshu. She is the daughter of a landlord. Studying

abroad has made her become a progressive young woman in the middle of the new era of knowledge.

You previously also collaborated with Sun Honglei in the 2008 movie “Landing, Please Open Your Mobile Phone.” Coming together again years later, do you feel any significant change from the first collaboration?

I feel it’s quite the same; I can say whatever I want with no grudge. Sun Honglei

respects my opinion and I also respect his. We do things for our own sake. It’s a pretty simple relationship. I also think Honglei remains serious as he always has been. When we collaborated together in “Landing, Please Open Your Mobile Phone”, I saw him as a great actor, and I always will.

This time acting together with Sun Honglei under the leadership of Director Kang must be even more exciting, right?

Of course! We always take things seriously. In every session, we always contribute our own

perspective and ideas in understanding the play and in our acting interpretations, making sure

we satisfy Director Kang and the direction he wants us to go. I think his direction is always very accurate.

In “The Legendary Snipers”, collaborating with two big names must make for a complex onset relationship. What do you think about this?

This is a story of inevitable love between a man and a woman. During war time, it was

hard to understand people’s desires, stifled as they were by vicissitudes of society. Perhaps what they felt was not only affection, it was more than just friendship, but it was also hard to

define what love was. With the existence of love, feelings become complicated and strangely wonderful. In reality, it is possible for us to experience love, but we are just not always able to

make it happen. In contrast, understanding love during wartime can throw emotional struggles into sharp relief.

We also heard you once stated that being an actor is like being a little boy; it’s considered not

good to keep giving him the same toy. We must make him feel like he is getting something

new all the time. Before and after playing this role, with this kind of perspective, do you feel any comparative subversion or breakthrough?

Before taking this role I honestly was always inconsistent. I did not know what kind of

position a female role could contribute within the story; I was quite confused. I definitely was doubtful that a female role could be so powerful in the middle of a tough battlefield. In this

kind of war-themed plots, the female role must usually be involved in the love or relationship part of the story. But I was wrong. The character that I played was not merely good for the love and relationship part of the story, but she also contributed a lot in other war and life

components. This is why I feel that this film is so unique and different from other similar warthemed films.

Do you feel like you have anything in common with the role you’re playing? Or do you feel like there is a psychological gap between you and the character that you play?

In the manner of my role’s on-screen and my off-screen circumstances, the gap is actually

really large. The hard part of it is not about acting it out. It’s about my need to understand

why my character is doing the things she is doing, the reasoning behind her every move. I

often thought to myself what kind of person Li is, and why the writer wrote about such a character. That’s why throughout a long thinking process, my acting became clearer. Through

this process I began to comprehend her feelings, her attitude towards everyone, her true personality, what she cares about, her weaknesses, her interests and dislikes; those are the things I think of the most when I am acting.

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时尚大师 Mark Werts

Brand Arbiter

作为著名服饰及家居饰品零售商 American Rag 的创始人， Mark Werts 对拓展中国市场自有一番规划。 来听听他对中国设计师以及上海时尚发展现状的看法吧。 Mark Werts talks about the Shanghai fashion scene, Chinese designers, and American Rag plans in China.

Text: Jacob

1984 年，American Rag Cie 在美国旧金山开设了第一家门店。次年，Maison Midi 也于洛

再见一下对方的父母，最后才可能步入婚姻

杉矶开张。此后该品牌便一直作为传承美国加州文化的中流砥柱，活跃至今。其创始人 Mark

的殿堂。也就是说，最好先少量订购，观察

Werts 也被公认是全球最具创新精神的时尚引领者之一。Mark Werts 和他的买手团队一直致力于

一下，再做进一步的决定。

在全球范围内搜寻各类独具特色的商品。此次，我们有幸与大师在环球时尚之旅的上海站相遇。

关于价格和设计问题 , 年轻设计师们也要 有点商业头脑。我又不是开了一家博物馆，

对上海之行有什么感想？

任凭你展示自己；我的重点是要卖给客户东

非常愉快。我感觉上海的整个大环境都有了很大改善 , 这里越来越像国际时尚之都了。就

西。许多设计师都努力要成为下一个川久保

像巴黎、纽约和伦敦一样 , 上海时装周会场周边的大街小巷里，也随处可见时尚的年轻人。他

玲，这虽无可厚非，但可能会在销售方面遇

们可能是编辑、造型师、又或是知名博主，都吸引着街拍摄影师们的镜头。这里的时尚气息越

到一些问题。

来越浓。 对中国市场有什么拓展规划吗？ 会不会有中国设计师品牌入驻你们在洛杉矶的门店呢 ? 这个问题问的好。我们正计划明年二月在洛杉矶门店以“店中店”的专柜形式推出中国设

我在香港和上海有许多优秀的合作伙 伴，他们在大中华区的时尚零售业及生产制

计师的作品。此外，也会在中国开设分店，吸纳一些中国设计师品牌。首先当然是张驰，还有

造 领 域 都 有 着 非 常 丰 富 的 经 验。 中 国 首 家

高街新贵 Skin Art Series 和惠文龙的作品，以及其它融合时尚和街头风的品牌。我认为时下这种

American Rag 将会于明年在上海开门迎客。

风格很受欢迎。我也很喜欢北京红工作室的作品，尤其是他们的五角星系列饰品——缺角五角星、

我们的终极目标是要在全国开 30 至 40 家精

弹孔五角星都十分特别。还有王杨创立的独立设计师品牌 YAANG，作为原创家居类生活方式

品店，将加州门店的概念和品牌引入中国，

品牌，他们的产品也必将大受欢迎。

再融合本土元素，为中国设计师提供更广阔 的空间。我对未来的发展感到十分兴奋，希

你对中国年轻设计师有什么建议 ?

望能常来中国看看。

确实，一时间中国涌现出为数众多的优秀年轻设计师 , 但在这样一个快速增长的市场面前， 他们似乎有点被惯坏了。在批发价和最低订购数量等问题上 , 一些中国设计师的要求往往也较 国际惯例更为苛刻。我觉得他们中的许多人都应该现实一点，做更加商业和实在的东西。尤其 是当与知名国际精品店寻求合作或订购货品时，一定要循序渐进，毕竟这些设计师本身都还不 是国际级大牌。我总会用结婚这件事来打个比方。两人在结婚前要先从约会开始，慢慢接触，

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人物

Profile

当代中国设计 A China Modern Mark Werts 和本刊执行主编 Nels Frye 共同策划 2 月份在 Mark Werts 的洛杉矶门店开设一家“店中店”。 本次活动通过聚焦中国设计师，向美国人传递当代中国设计的能量和精神。 In February, Mark Werts and LifeStyle Editor-in-Chief Nels Frye will curate a special shop-in-shop at his store in L.A. focused on Chinese designers. The goal will be to stimulate Americans, showing them the energy and spirit of some of contemporary Chinese design in an approachable, fun context.

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For its jewelry line, Atelier Rouge Pékin deconstructs the star with chunks crumbling off and bullet holes through the center, suggesting punk and satire in a way that is indisputably Beijing Modern.

First opening its doors in San Francisco in 1984 and Los Angeles in 1985,

willing to start slowly, since none of these

Founder Mark Werts has been recognized as one of the most innovative

say that you don’t jump right into marriage

American Rag Cie and Maison Midi are mainstays of California culture.

designers are international names. I always

and trendsetting retailers in the world. Mr. Werts and his buying team have

the first time you meet. First you go on a

circumnavigated the globe in pursuit of unique and exclusive merchandise;

date, then maybe another, you meet the

we caught up with him for a chat in Shanghai.

parents, afterwards there might be a ring - I mean it’s best to start with a small

How was your last visit to Shanghai?

order and then see how things go.

We had a great time in Shanghai on this visit; we all feel that the entire

When it comes to price and design,

environment has improved immeasurably - it’s really starting to feel like an

young designers just need to be a bit

international fashion destination.The place is really very stylish. Much like Paris, New York or London, the streets around the Shanghai Fashion Week venue are filled with stylish youngsters who seem to be editors, stylists, bloggers

- the same hip crowd you see everywhere vying for the attention of street style photographers.The style sense of locals has really evolved.

more commercially-minded. I don’t run a Hui by Eran Hui is another brand that blends streetwear and high-fashion, leading to gripping prints and surprising silhouettes.

Are there any Chinese designers that you think you will be stocking in your Los Angeles shop?

doing fashion retail and production in

and others stand at that point where fashion and street style meet, which I

Greater China. Our first American Rag

think is really popular right now. I love the broken star jewelry by Beijing’s

store in China will open in Shanghai next

Atelier Rouge. YAANG is a lifestyle brand bound to be popular.

wholesale prices and minimum order quantities that these Chinese designers are

asking for tend to be higher than international norms. Especially when they’re

looking at and order from a well-known international boutique, they have to be

sales.

all have a great wealth of experience

in China. Zhang Chi above all, but also Skin Art Series, Hui by Eran Hui

will have to come down to earth and be a bit more commercial and realistic. The

that attitude it might be hard to do real

based in Hong Kong and Shanghai who

will be part of this hopefully also in the shops that we will are opening here

little bit spoiled by being in such a fast growing market. I suspect many of them

Rei Kawakubo - which is fine - but with

I founder a great group of partners

LA store in February focusing on Chinese designers. I found several that

Though there are indeed a lot of great young designers, they may have been a

Many designers are trying to be the next

Tell us more about your plans for China.

This is a relevant question because we will be doing a shop-in-shop at our

Do you have any advice for young designers in China?

museum. I need to sell to my customers.

year; ultimately, we are planning for 30-40 boutiques across the country. These will Beijing designer Zhang Chi’s “Made in China” series is sure to capture the imaginations of American, forcing them to question their attitudes toward Chinese products.

bring the concept and many of the brands of our California stores, but also have local

elements, including prominent space given to Chinese designers. I am extremely

excited about this project and expect to be coming back to China more frequently over the next couple of years.

LifeStyle 71

艺术

Art

贴近，是场温馨的焚

Running Through The Flames 李晓飞《误入世界》的个展，至今已近一年， 在李晓飞的风景作品中往往反应出艺术家内心 的狂野，以及回归大自然的渴望，但似乎又难 以实现。暗示着我们，他画面中寻回的精神意 象最终包容了动荡不安的灵魂，我们无法确定 这是否是一个高潮后的休止符，在片刻休憩后， 艺术家也许会踏上全新的征途。 Li Xiaofei’s “Metamorphosis” exhibition has been open for nearly a year. In Li Xiaofei’s landscape paintings, one can see the reflection of the artist’s wild heart and desire to return to nature, but it seems difficult to achieve. His work entails a vision of a turbulent soul’s travels; we cannot determine whether this is a pause or a climax, or a resting place after which the artist might embark on a new journey.

Editor: Kelly Hao Text: Ai Hai 他误入世界，很久了。也许，真的是因为误入，所以， 他用自己误着闲旷的光景，误着生命里的心思。他在误入后， 开始反复描摹自我，他写书，当大学老师，为学生策展，总之， 他总是有一种哽咽的坚强。他的工作室，我是常去的，他无 视我，我亦无视他，沉默，是我们最好的交流。他在工作室 的状态，象钢丝绳上的独行，他依赖现场，却又无可依靠， 他认真的流浪，不惜毫无保留的铤而走险，等着笔和纸在撕 扯间，落入自我的琼绝。 艺术，投入的不仅是身心，甚至在生命中培出一个宗教 立场的国，对于国之疆域，不让步，不妥协，即使再多的危及， 不确定，都不可更改那唯一投入和虔诚，那唯一的立场和抉 择。李晓飞，我视他为不被治愈的，健忘症患者。他总是把 自己对画面造说的布景，抛售成一个又一个的命题，向观者， 向境遇，向社会。也许，他早知道，自我斟疗处方上的答案。 他构筑的图景，让人惆怅，似乎这还不够，他恳请着内心， 必须让人体验到，当代社会由于抽掉神性的维度而陷入意义 缺损的彷徨。钢琴、沙发、椅子，它们背离了自己原有的生 存空间，向漫无目的的逃生，却又似等待一场远远的相认，

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《没有观者的表演》布面油画

《逝去的风景》 布面油画

一场幽幽地倾诉，天知道，他要从中追溯一场怎样的

《遗忘的风景》 布面油画

《静静的等你》 布面油画

往事，并追加一场淋漓到如何的戏剧冲突。 《传说》、《他者的眼光》、《没有观者的表演》、 《英雄远去》等，画布上被留下的，如同戈壁滩蒸发 后残存的盐碱，倔强地泛着光辉。而这光辉，向征询 的，探讨的岸，陌生的观者需要思想的心领神会，需 要相认的只言片语，便渡过那岸，抵达他的近前。那 刻便知，贴近，是场温馨的焚。 晓飞，唯有破晓，方才羽飞而起，而破晓，一定 是揉捏了白昼的注视、启蒙、相疑、暗夜的摧毁、灼 烧、拼构。 他于岸侧，崖顶，寥寥地伫着，远远地，望着他， 如一段密叶青烟……

He has floated through this world, for a very long

time. Perhaps his floating led him astray, away from a

rigorous scholarly life and towards the misuse of the life of the mind. After his straying, he wrote books to record

his wanderings, and worked as a professor in university to share the fruits of his journey with students. I recall

going to his studio- he would ignore me, and I he, with our

he paints reframes the old existential question; he doesn’t seek to soothe or to comfort,

but to bring people into an intense dialogue with themselves. His images make people

melancholy, but this isn’t an invocation of a passing mood, but an imploring call to the spirit, an experience of contemporary society as brutality, one deprived of the dimension of divinity. Pianos, sofas, chairs; in his work, they are removed from their domestic

context and are seen aimlessly scattered throughout the cosmos; the inanimate objects at the center of his work are the dim flickerings of a deeper meaning, one from which we are forever alienated. The paintings are the tombstones of ferocious internal conflicts.

“Legend,” “His vision,” “No Concert,” “Departure of Heroes,” and his other works lie

caked dry onto the canvas, dry as a desert that was once a great ocean, with nothing but

coarse granules of salt remembering the ancient waves. The stubborn glowing radiance that emerges from his work seems to hint that the other shore is still there, no matter how far away; a rare glimpse at the absolute, one which sustains an endless march through the warm burning field.

Xiaofei: you are at the dawn of a new era, a pale sliver of reddish light cracking the

horizon. Xiaofei: continue through the night of suspicion, of burning, of destruction; fight the structure with your beams of light.

The shore remains terribly far away, below the cliff top; a few come to the front of the

queue, gazing at his canvasses, as one searching for a forest would stare at leaves and the smoke rising from a bonfire…

communication a silent communing with the art itself. His

studio is the scene of his genius; he goes through the world

boldly, almost desperately, with nothing between him and oblivion but his paintbrush and his passion.

Art is not only a physical, intellectual, or even

metaphysical indication of a country’s conditions;

throughout the dark rumblings that transpire through the national territory, art is an evanescent spirit floating above, offering an index of positions and choices that we may make in our navigations through waking life. Li Xiaofei has failed to assimilate himself to this world, and has never

gotten accustomed to its cruelties. Each picture which

LifeStyle 73

74 LifeStyle

有关酒店、旅行、美食及新鲜体验的 travel, gourmet, and leisure from around

一切享乐。 the globe.

酒店

hotel / p.76 人物

profile / p.84 美食美客

foodie / p.86 旅游

travel / p.94

丹尼尔 · 奥斯维克为 NYLO 酒店设计的制服 “NYLO Wear by Daniel Vosovic” collection

LifeStyle 75

你不知道的酒店制服

Creative, Sophisticated, Elegant: Designers of Hotel Uniforms Editors: Mollie Snyder & Sasha Astiadi

76 LifeStyle

从光鉴照人的地板，到花样百出的 灯具，从顶级品牌的洗浴及床上用品， 到一座难求的米其林餐厅，酒店可谓是 奢华的集大成者，那酒店员工的制服呢？ 时尚界的设计大咖纷纷与一流酒店强强 联手，于是，精致、优雅的创意之作让 偌大的酒店也成了争奇斗艳的 t 台。 From the bow-ties right down to the shoes,

the best designers in the world have come

together to match immaculate hotels to go along with their chic staff uniforms. With

all the hard work put into making a hotel look spectacular from the floor tiles, to the light fixtures, why should staff uniforms be

any exception? These elegant, classic, looks

seen all around the globe give a breath of

fresh air to the hospitality industry. Each of these designers have specifically designed staff uniforms for their corresponding hotels,

making them unique, original and the most stylish hotel staff we’ve ever seen.

LifeStyle 77

酒店

Hotel

克里斯汀·拉克鲁瓦 索菲特曼谷特色酒店

Christian Lacroix for Sofitel So Bangkok 不要以为制服就一定是经典的蝶形领结和花哨的西装马甲，索菲特曼谷特色酒店 的员工们看起来像刚刚参加了素坤逸的 t 台走秀，其极具特色的制服令人印象深刻。 巴黎高级女装界的著名设计师克里斯汀·拉克鲁瓦是酒店的艺术指导，他从金、木、水、 火、土五种元素中汲取了灵感（“五行”也是整个酒店的设计主题），将古老的暹罗 风情与法国的精致优雅相结合，设计了 15 款不同的工作服。活力十足的色彩，错落有 致的花鸟图纹和精细的缝制手法都体现了不俗的品位和趣味，还有梦幻的气质。 Forget classic bow-ties and gaudy waistcoat combos, the staff at the Sofitel So Bangkok looked

as if they’ve stepped straight off a Sukhumvit Runway. Monsieur Christian Lacroix has created

a stylish collection of 15 different designs for the immaculate hotel. These designs, which blend

French and Thai style, can be seen on all of the staff members. The uniforms’ patterns and colors

come from inspiration from the Five Elements, which is also the theme of the hotel. The collection of uniforms features all types of vibrant colors, and bird and floral designs all placed intricately on

elaborate quilt patterns. Christian Lacroix’s designs indubitably match the flair, fun and fantasy that is The Sofitel So Bangkok.

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纳西索·罗德里格斯 纽约柏悦酒店

Narcisco Rodriguez for Park Hyatt New York 纽约柏悦酒店素来以高雅的品位、对细节的极致追 求而闻名，所以时尚设计师纳西索·罗德里格斯受邀为其 女服务员和鸡尾酒服务员设计制服，就不足为奇了。由 于酒店为全玻璃的摩天大楼，并且是城市天际线中十分 独特的一笔，设计师受此启发而创作了这些时髦别致的 黑色礼服，漂亮性感，又不失端庄，非常符合岗位特质。 建筑感廓形的紧身裙一看就知道出自罗德里格斯之手， 融入了强烈的个人风格与酒店气质，绝无仅有。 The Park Hyatt NY, known for its elegant taste and attention to

detail, had no trouble finding an American fashion designer such

as Narcisco Rodriguez to design the wardrobe for their hostesses and cocktail servers. These chic black dresses were inspired by the hotel’s all-glass skyscraper and its impact on the city skyline.

Rodriguez featured his signature design on the back of each dress and an architectural sheath. The American-born designer was

able to create dresses that could make the staff look good, feel sexy, and still look appropriate for their position. The uniforms of

The Park Hyatt are truly one of a kind.

LifeStyle 79

酒店

Hotel

约翰·弗沃科 温哥华 OpUS 酒店 John Fluevog for OPUS Hotel Vancouver OpUS 酒店品牌一贯以时尚、设计和创新而著称。这次，温哥华 OpUS 酒店将市场推广与跨品牌宣传相结合，与加拿大鞋履设计师约 翰·弗沃科共同推出一款名为 OpUS hotels porter 的鞋子。这是一款做 工精良的粉黑色皮革男士正装鞋，略带一点小俏皮，现在酒店男服务 人员都穿这种鞋。John fluevog 设计的鞋子新潮前卫、风格迷人，与 OpUS 酒店的气质相得益彰。对于双方来说，此次合作愉快且富有成效。 The OPUS Hotel’s brand values of style, design and innovation are very

apparent in their collaboration with Fluevog Shoes. John Fluevog, the owner of the Vancouver-based designer shoe company has made a shoe exclusively for

The OPUS hotel properties. It is called The OPUS Hotels Porter Shoe and can

be seen on all of the valets and male guest service associates. The shoe itself is classy and well-made with a kick. It has a pink upper which allows guests to be assured that their service will be the highest of quality, while still maintaining a

hint of fun at the same time. Fluevog shoes represent an avant-garde, glamorous style and, combined with the character of the OPUS Hotel, it makes for an exciting partnership and new dimension to both brands.

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保罗 · 史密斯 巴黎文华东方酒店

Paul Smith Junior for The Mandarin Oriental Paris 巴黎文华东方酒店与 paul Smith Junior 首次合作，推出了 儿童经典款睡衣系列。保罗·史密斯是英国设计师中的后起之 秀，擅于预见时尚的趋势和潮流文化的走向。他最受人追 捧的便是内里的些许叛逆精神——表面是绅士却偷着“耍 坏”——这也是他的英式“怪癖”。该系列睡衣为 7 岁以 下的住店儿童设计，款式经典，便于穿脱，不仅体现了设计 师本人鲜明的个人风格，还兼顾文华东方酒店和巴黎的气质。 In classic style, The Mandarin Oriental Paris launched the first ever

children’s sleepwear collection. This collaboration marks the first between The Mandarin Oriental and Paul Smith Junior. Paul Smith is an up and coming British designer who has the ability to anticipate hot trends not

only in fashion, but in pop culture as well. Paul Smith Junior’s collection is inspired from a hint of English eccentricity that exemplifies Smith’s

personality. The collection is classic and easy to wear. These stunning

elegant pajamas created by British fashion brand Paul Smith are available

for children up to seven years old in the hotel and embody the values of both the Mandarin Oriental, the Paris style, and Paul Smith Junior.

LifeStyle 81

酒店

Hotel New York-based designers Jamil and

Alia have come together to create JUMA, a

casually sophisticated masterful collection of playful and culturally based designs.

For the past year, JUMA has collaborated with The Four Seasons Beijing where their

stylish outfits and accessories can be seen on the staff in the hotel’s restaurants, such

as the OPUS longue and Mio. They have

also successfully culminated a new shop in the hotel where guests are able purchase items from their travel accessories collection, ready to wear and home line

known as ‘Journey By JUMA’. JUMA’s

inspiration for these exotic prints ranges from the designers experiences in Kenya, all the way to the modern-urbanites of

Beijing and Shanghai. The Four Seasons Beijing is JUMA’s first standalone retail space in China. What’s not to love about these chic, unique outfits?

竺玛 北京四季酒店 JUMA for The Four Seasons Beijing 总部位于纽约的 JUma 由 Jamil 和 alia 兄妹创立。凭借横跨四大洲的丰 富经历，他们的设计兼具野性与高雅、简洁与细致，常见俏皮和多变的标志 性印花以及照片与手绘的巧妙结合。过去的一年里，北京四季酒店邀请 JUma 品牌为酒店如大堂酒廊、意大利餐厅 mio 员工设计全新时尚的工作装，同时酒 店公共区域也可看到 JUma 品牌的家居饰品。另外，JUma 的最新系列 “竺 玛之旅”在酒店开设了快闪店，客人们可以在此买到他们的旅行配饰系列、成 衣和家居饰品。其中，印花作品的灵感来源于肯尼亚之旅的马赛人部落，以及 结合了北京和上海的超现代时尚精神。北京四季酒店是 JUma 在中国零售界 的第一个长期店铺。

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丹尼尔·奥斯维克 NYLO 酒店 Daniel Vosovic for NYLO Hotel 丹尼尔·奥斯维克凭借利落简洁的线条和精致 的剪裁风格自真人秀节目《天桥骄子》第二季里 名声鹊起。如此强烈的个人风格在他给 NYLO 酒 店设计的制服上得到了沿用，一改传统酒店制服 的呆板和沉闷，而是选用了时尚的色彩和大胆的 图形线条，十分抢眼。酒吧侍者、服务生、前台 和礼宾等一线员工都换上了新装，给酒店平添了 几分青春活力。更让人惊喜的是，客人们可以在 酒店精品店和网店购买到这些高端定制时装。 During his time in the Project Runaway reality

TV show season two, Daniel Vosovic was known as

a designer who emphasised signature clean lines and

sophisticated style in each of his designs. This particular signature was also showcased in his “NYLO Wear by

Daniel Vosovic” collection, where he partnered with loft lifestyle hotel brand NYLO Hotels, renewing the conventional looks of standard hotel uniforms by giving

them an eye-catching makeover with a fashion statement of tonal colour palette and bold graphic lines.“NYLO Wear by Daniel Vosovic” collection provided NYLO’s

front-line staff including bartenders, servers, front-desk staffers and concierge with a a touch of young vibe. The staff are fashionably ready to serve the guests with the

apparel’s comfortable fabrics for the sake of a maximum functional performance. The high-end fashion apparel

is also available for guests to buy in the hotel’s boutique and online shops.

LifeStyle 83

人物

profile

成功的滋味 The Taste of Success 正处在职业快速上升通道中的李 俨被任命为大连君悦酒店酒店经 理。有着丰富餐饮部门从业经历 的她会有何心得、又有何期许呢？ Betty Li is on a rapid upward ascent, coming from a F & B background and appointed as the Hotel Manager at the Grand Hyatt Dalian. LifeStyle sat down with her to understand more about her work, the Hyatt, and what an F & B background can mean for hoteliers.

What defines “hospitality” for you, and why did you choose to go into this field? How is

the job of hotel manager different from your previous roles?

Basically, I have spent more than twenty

years in F & B in various different positions.

At the beginning, for me “hospitality” meant a

comfortable work environment and a stable job.

Then, year after year, Hyatt culture drove me to become a qualified hotelier.

The biggest difference between a hotel manager

position and my previous roles is that I am now looking after the whole hotel, not just the F & B side. I need to give more attention to the

operational aspects of the whole hotel, while also taking care of our associates.

What is special about Grand Hyatt Dalian?

餐饮部门的工作经历对你即将要从事的工 作有什么影响呢？ 众所周知，凯悦酒店集团以其精致的 美食享誉全球，而我亦有幸在长达 24 年的 凯悦生涯中与众多经验丰富的餐饮从业者 和厨师长们共事，这是我职业生涯中最宝 贵的财富。这些珍贵的经验，也让我意识到， 了解客人真正的需求是让餐厅成为城中最 佳的必需条件。 在你看来，酒店业是怎样的？你为什么会 选择这个行业呢 ? 酒店经理的工作与你之 前的工作经历有什么差别呢？ 我进入酒店行业已经超过 20 年，最初 只是期待有一个很好的工作环境和一份稳 定的工作。通过不断的深入了解凯悦的文 化和接受专业的培训，逐渐成长成为一位 合格的酒店管理者。 当然，成为酒店经理与我之前在餐饮 方面的工作还是有很大的不同。这使我有 更多的责任，更全面的参与到酒店的日常 营运中，也投入了更多的精力关爱员工。

通要道中山路咫尺之遥，从酒店到大连周 水子国际机场与大连市火车站仅 20 分钟车 程。 酒店拥有 370 间典雅舒适的客房及套 房，因楼体的特别设计，370 间客房均可观 赏壮丽海景。6 间风格迥异的餐厅与酒吧， 提供缤纷的美食选择。总面积达 2,568 平方 米的高端会议与宴会设施，是举办婚宴、 会议及各种聚会的完美之选。同时，酒店 还配备了先进完善的健身中心与舒适私密 的“谧”水疗，让宾客尽享轻松时光。 拥有如此顺畅的职业发展路径，你对未来 有何期许？ 我觉得我已经拥有了凯悦的基因，我 可以在工作时自然流露出凯悦的风格。 Tell us about how your background in F & B influences your work today.

As Hyatt hotels have a very strong Food

and Beverage reputation, I have had many

opportunities to see and work with many

experienced managers and chefs all around world.

大连君悦酒店有什么特别之处？ 酒店位于亚洲最大的城市广场——星 海广场，毗邻星海湾沙滩及高档海滨别墅 社区，是凯悦酒店集团进驻大连的首间酒 店。酒店距离星海国 际会展中心及城市交

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I have also worked in various different roles in the

F & B area over the past 24 years. That experience helped me to understand that guests’ needs are the

most important factor when trying to make your restaurant or bar the best in town.

Located beside Dalian’s picturesque coastline,

this luxurious modern hotel introduces Grand Hyatt’s hallmark hospitality to one of China’s

fastest growing cities for leisure and business travel.

Grand Hyatt Dalian offers 370 contemporary

guestrooms starting at 45sq m (484 sqft). Due to

the building’s unique architecture, every room enjoys floor-to-ceiling ocean views and six restaurants and bars, plus a 24-hour gym, indoor

swimming pool and the deluxe Mi Spa. More than

2,568 sq m (27,641 sq. ft) of diverse outdoor and

indoor event venues are perfect for hosting dream weddings and impressive events.

An integrated part of No.1 Xinghai Bay, a

high-end resort of residential apartments and villas, Grand Hyatt Dalian is just minutes away

from Xinghai International Exhibition Centre and

Zhongshan Road, the city’s main thoroughfare.

Dalian International Airport and Dalian Railway

Station can be reached in less than twenty minutes by car.

Your career is developing rapidly. What do you see in your future?

I think I have Hyatt DNA. I mean, I always try

to embody that brand spirit when I am working as an associate of Grand Hyatt.

Promotion

Show

私人造型定制专家

Your Private Hair Salon

当然，Show Salon 同样为普通客人提 供相当优异的服务，专业造型师会根据每一 位顾客的不同特点和需求，打造出最贴合气 质、彰显个性的精彩一面。而独具匠心的装 潢设计以及精心挑选的休闲小食，带来的则 是无微不至的贴心与舒适。 Located on at the corner of Xinle Road and

Huaihai Road, Show salon has been open for six years. Xinle road, which the old Russian church, with the plane trees… escaping from the busy traffic

of Huaihai Road, the avenue is among Shanghai’s

most elegant. As to the salon itself, the interior design is simple but unique, with numerous vintage

and industrial elements. The salon is located in a renovated Western villa, of the style for which

Shanghai is famous; yes, here you are in the center of a world city. Show’s team of stylists are very

professional, each one of them trained in the finest schools; Shi Xiu, director of the team, is a specialist in the latest Western fashions.

Show salon is known for its low profile and

professionalism, which is the reason why numerous

celebrities choose to get their hair done here. Apart

from the customers, only Show staff can access service history and purchase records, keeping your information

absolutely safe. There will never be any embarrassing indiscretions or leaks, which the numerous high profile customers know and appreciate.

Show salon provides outstanding service for the

general public as well. Professional stylists will

create a perfect look according to your personal style and preferred. The lovely decoration and delicious

snacks will make you feel light and relaxed. See you on Xinle road…

No.8 Xinle Road, Xuhui District, Shanghai Tel: 021 5403 9008

位于上海新乐路上的 Show Salon，开业

至今已经有 6 个年头了。种满法式梧桐的小 路紧邻着繁华热闹的淮海路，却又在闹中取 静中多了几分贵族气息与浪漫情调。整店装 修风格简约而独特，老上海洋房的万种风情 经过改建，多了些许复古、工业元素，大方 又不失温馨。Show Salon 团队成员个个都是 造型精英，队长石秀更是一等一的好手，尤

其擅长以欧美简约风格为主的私人造型定制。 Show Salon 的低调与专业向来为顾客 所称道，尽管许多知名艺人与社会名流都是 该店的主顾，但对于顾客资料的保密工作， 从来都是格外细心。顾客订购的任何产品和 消费记录都只限于顾客本人、设计师和其他 店内队员知晓，绝对不会产生由于信息泄露 而造成的不必要的烦恼。

LifeStyle 85

美食美客

foodie

瑰丽龙庭 : 舌尖上的历史

The House of Dynasties: History on the tongue 从建筑风格到摆设细节，从食材制作到进餐礼仪，瑰丽酒店的龙庭餐厅， 带来的不仅仅是拥有媲美皇家奢华的飨宴，更是一场文化气息十足的精神浸润。 From architecture to design, from the ingredients to the perfectly modulated manners, the Rosewood Hotel’s House of Dynasties is not only comparable to a royal luxury banquet chamber, it can bring contemporary visitors on a trip through time.

Text: Kelly Hao Photos: Liu Fei

文化与美食的融合，并不仅仅是一个空泛的概念，在北京瑰丽酒店，感受一席盛宴从步入“龙 庭”餐厅的第一刻就已经开始了。以中国几大朝代为主题的房间，无论从装修风格还是陈列细节， 乃至用餐器皿，都各有特色，别具风情。唐的雍容、宋的清丽、元的奔放……美食还未呈上，已经 宛若时光流转，恍惚置身数百年光阴之中。呼应着房间的格调，菜品自然秉承了精益求精的质感。 依时令而取材，顺传统而烹制，迎时代而革新，在充分满足了唇舌享受的同时，营养价值与观赏价 值亦被完美兼顾。 移步窗前，京城美景尽收眼底，摇一摇杯中美酒，一静一动，一古一今，于舌尖上品味中国， 于微醺中梦回历史。 The integration of culture and cuisine is not just a vague concept, but a reality in some of Beijing’s finest

hotels. Entering “House of Dynasties,” I felt the feast ready to begin. The room is themed on some of the most

notable dynastic styles of Chinese history, displayed in décor but also dining utensils and styles. Traces from

Song, T’ang, Q’ing and Ming… entering the restaurant is like traveling backwards in time. Echoing the style

of the room, the cuisine also represents histories of multiple dynasties. Seasonal, local, consistent with ancient

traditions; the finest legacy of the past is brought to diners here. No dusty history museum, the wonderful

flavors on offer will make anyone passionate about the past, as they are nutritious, delicious, and beautiful.

Looking out the window at the panoramic views of the capital, lifting a glass of wine; dreams of Chinese history are reflected through the smudged glass, punctuated by the bright lights of a nation on the move.

86 LifeStyle

金沙澳带

Wok fried australian Scallops, asparagus

澳带裹上一层薄薄的虾胶，与咸蛋黄一起小火煎炒出这样一道透着暖意的“金色佳肴”。 澳带的弹牙嚼劲十足，虾胶的海鲜味，与咸味适中的咸蛋黄在煎炒过程中彼此吸收着各自的色 香味，不断融合。让食客品尝着鲜味儿，感受着冬日暖意。 嘉宾点评：非常新鲜的做法，充分突出了澳带的 Q 弹与鲜甜。 A scallop wrapped with a thin layer of shrimp paste and egg yolk is fried gently to give a taste of warmth

in this “golden dish.” The chewy and perfect scallop is enhanced by the shrimp paste to give a vibrant seafood flavor, with the egg yolk adding cohesion and kick. These golden orbs give warmth in winter.

Flavor Analysis: this is a very fresh approach, highlighting the full flavor of all ingredients and coming together in a splendid combination.

松茸汤 清炖越鸡

Stewed imperial Chicken

Double-Boiled matsutake, Conpoy, ham, mushroom essence 精心挑选出优质的干松茸切片，以纯净水作为底汤，吊出 松茸最原始最鲜香的味道，随后加入新鲜松茸，入锅文火蒸制而

这道菜最难得的便是采用著名的“越鸡”烹制成肴。越鸡食五谷杂娘、 田间虫草活食，饮用溪水，纯种优良。熬汤时便配以石斛、火腿、鸡汤，

成这一道味足鲜美的松茸汤，是秋冬时节去燥滋润的最佳选择。

上火蒸制 6 小时，熬汤过程中需悉心地把握好火候大小与熬制时间，方

嘉宾点评：白嫩肥厚，质地细密，轻嗅有着浓郁的特殊香气， 极其润滑爽口。

能使其肉质细嫩，鸡骨松脆，汤清而味美。

High-quality sliced dry pine mushrooms cooked in the freshest spring

嘉宾点评：鸡肉能够久煮而不老，鸡汤能够入味而不浑，厨师功力之深 可见一斑。 This most unusual dish takes fried chicken and treats it as an ingredient in itself.

A soup of fine grains and clear spring water along with ham and herbs creates a soup, in which fried chicken is steamed for six hours; the meat is tender, the chicken is crisp, the soup is clear and delicious.

Flavor Analysis: The long-cooked chicken’s flavor is excellent and not soggy, the soup’s flavors are bold and delicious; deep culinary skills are evident.

water, allowing the subtle fragrance of the mushrooms to attain their most profound savor; the dry seasons of autumn and winter dry season are the best times for this dish, consumption of which can help the body to retain moisture.

Flavor Analysis: the soup’s complex flavors include the soft white tissue of the Matsusake, the light fragrance of the soup, and the delicious broth sliding down one’s throat lightly as a dream.

LifeStyle 87

美食美客

foodie

松露汁扣关东参

Braised Sea Cucumber, abalone Sauce 以云南块菌吊出的鲜底汤，再使用云南美味营养的菌， 搭配上香味醇厚的黑松露，调制出森林泥土气息和浓郁的蘑 菇味兼具的松露汁。将鲜美的汁均匀的浇在肉质厚实、口感 嫩滑的关东参上。滋味腴美，风味高雅，不愧为久负盛名的 名馔佳肴。 嘉宾点评：海参软糯，酱汁厚重，搭配在一起，入口绵软细密， 回味悠长。 Yunnan truffles boil at the bottom of a rich soup, accompanied by other Yunnan mushrooms, creating a combination flavored by the forest, with a rich earthy mushroom truffle sauce combining the

taste of both. The delicious sauce is evenly poured on the thick, meaty tasting sea cucumber. The result is simply divine.

Flavor Analysis: A silky-smooth cucumber from the bottom of the ocean mingled with the flavors of the forest; land and sea coming together.

点评嘉宾：Comments guests: 周丽丽：海丝腾品牌中国区北京、上海、杭州代理， 梦林佳居（北京）商贸有限公司总经理。 Zhou Lili: Hästens brand is based in Beijing, Shanghai, Hangzhou distributor, Lin Jia Dream House (Beijing) Co., Ltd., general manager.

川椒煎澳洲和牛

Sichuan peppercorn, angus Sirloin, australia 来自澳大利亚翠绿牧场上健硕的和牛，不 管是从肉色对比，脂肪比率，细腻度还是花纹 的均匀度等来看都堪称牛肉中的典范。选取和 牛肉质最新嫩弹滑的牛柳肉，颇具创意地配上 中式特色调料——川式经典椒麻汁。味道甜嫩 的牛肉再结合独特的中式食材，想必能给吃惯 传统西餐的人们带来不一样的味觉享受。 嘉宾点评：创新的做法打破了传统的黑椒或者 红酒的惯例，带来完全不同的口感和惊喜。 Angus Sirloin, Australia From Australia’s green pasturelands come some of the world’s finest beef,

ideal for adaptation to Chinese cuisine. Carefully

selected beef of the finest cuts, prepared with creative Chinese spices in a secret recipe from

Sichuan province makes for a classic flavor. The

sweet and tender beef’s flavors sing in dialogue with the Sichuan spice, giving those used to traditional Western preparations a different taste to enjoy.

Flavor Analysis: this innovative approach breaks the traditional practice accompanying steak with black pepper or red wine, and brings a completely different taste that delights and surprises.

88 LifeStyle

宋嫂鱼羹

mandarin fish Soup 宋嫂鱼羹是南宋时的一道名菜，距今已有 800 多年的历史，宋嫂鱼羹的配料极为精细讲究。 在美味鲜香的鸡汤中，依次下入火腿丝，香菇丝，和细嫩的熟桂鱼肉，待鸡汤烧开然后调味勾芡， 最后淋入蛋黄即可。制成的鱼羹色泽油亮，鲜嫩滑润，味似蟹肉，故又有赛蟹羹之称。 嘉宾点评：虽然是一道传统的菜品，但是龙庭的宋嫂鱼羹却丝毫不逊色于西湖边上的原始风味。 Sweet and sour soup is a famous dish of the Southern Song Dynasty, dating back over 800 years of

history. The Song Sao Yugeng’s ingredients require extremely fine attention. Delicious chicken soup ham, mushrooms and tender Gui fish are boiled together until the chicken broth thickens; egg yolk completes the combination. The soup is shiny, fresh and smooth, with a crab-like flavor.

Flavor Analysis: Although it is a very traditional dish, the appeal of this dish has only increased throughout the ages.

LifeStyle 89

人物

Profile

周丽丽：梦随心动，迷人的执着

Zhou Lili:

A Dream from the Heart Text: Kelly Hao Photos: Liu Fei

周丽丽现担任海丝腾品牌中国区北京、上海、杭州代理， 及梦林佳居（北京）商贸有限公司总经理职务。创业以来凭借着 强烈的自信心、聪明的头脑、坚强的意志和迷人的个性不断取得成功。 她始终坚信：执着的付出和努力一定会赢得精彩的人生！ Zhou Lili now works with the Hästens brand in China as Beijing, Shanghai, and Hangzhou’s distributor, as well as having Lin Jia Dream House (Beijing) Co., Ltd., general manager duties. Since the start of her career, her self-confidence, clever mind, strong will and charming personality have portended success. She has always been convinced: persistent dedication and sincere efforts will create a wonderful life!

90 LifeStyle

一直以来您专注于事业的成功，更讲究生活 的品质，当初是怎么与“海丝腾”这个品牌 结缘的呢？ 早年因为工作的原因，经常世界各地奔 波，因此睡眠质量也不好，一次偶然的机会， 我在欧洲亲戚家第一次体验到了海丝腾的舒 适，让我有了难得的一次好睡眠，也减轻了 不少旅途带来的疲顿。那时我便在想，如今 越来越快的生活节奏让现代人的生活质量越 来越低，而好的睡眠就显得尤为重要，然后 我便开始了解这个拥有 160 多年历史的古老 品牌，而在进一步了解的过程中，我更是坚 定了当初的想法，想把这份舒适带给更多的 人。 从做世界顶级床具海丝腾，延伸到做家具行 业的顶级品牌。梦林佳居如今可算是家居行 业中的佼佼者，您的经营理念是什么？ 我们的目标是将最健康、最高品质的生 活方式带给每一个客户，这也是我们的经营 理念。因此我们经营的品牌都是世界上顶级 的。包括海丝腾是源自瑞典的世界顶级床具， 是当地的龙头企业。旗下产品包括床具、床 垫和床上用品等。海丝腾致力打造世界上最 完美的床具，即令您延年益寿、身体健康、 倍感幸福的床具；具有 70 多年历史的意大利

顶级家具品牌 SaViO firmiNO 纯正手工奢华家具。精致的雕花，典雅 的款式不由得让人赞叹设计师何工匠们的精妙。深受社会各界人士的喜 爱。Luiz 高品质家用纺织品，一流的做工，以及永恒的设计，用最专 业的服务以满足客人的个性化需求。正如人们所说：因为专业，所以优质。 据说梦林佳居公司旗下品牌海丝腾最有特色的材料是马尾毛，这是产品 能保持高度舒适的关键要素吗？ 我们选购一张好床，保暖和透气是最需要考虑的因素。这不仅跟 床具所选用的材质有关，也跟制作工艺密不可分。世界上能够将这两种 特质完美融合的材质无疑是源于自然的。而海丝腾恰恰就做到了这一点。 海丝腾最具代表性的材质——马尾毛，可以说是最通风、最有弹性、最 软硬适宜的填充物。每一股马尾毛都拥有着与生俱来的内置微型通风系 统，使睡眠中人体所产生的热气和湿气都能藉马尾毛导出床垫，从而保 持床垫的干爽、温度和柔软。此外，为了让保暖的效果达到最佳，有着 几十年制床工艺的海丝腾技师，亲手将纯马尾毛、棉花和羊毛均匀地分 层铺放，最少都达到十几层，这样一层一层的铺放工序正是保证海丝腾 达到绝对舒适的关键因素之一。 自 2006 年起，您便致力发展世界顶级品牌在中国的推广，对你而言， 这意味着什么？ 梦林佳居不是简单地代理或经销产品，而是在推介一种时尚、优 雅的文化，建立引领更改品质消费的平台，也是员工发挥自我价值和能 力的舞台。海丝腾成立于 1852 年，如今海丝腾床具的手工和质量也依 然秉承手工制作和天然选材。在我了解到海丝腾的优秀以后，八年以来 我一直带领着我的团队凭借海丝腾床具优秀品质、Savio firmino 的精湛 工艺和 Luiz 露伊兹的完美和激情为客户提供健康、舒适的睡眠体验和 奢享的生活品质。如今这个品牌能深受人们的喜爱，也表示我当初的想 法是正确的，也是对自己一路以来付出的最大肯定，在我心里，海丝腾 不单单是一张床或是某个品牌。它更意味着一份舒适，一份家带给你的 温暖，在每个疲劳的夜晚赐予我们最好的睡眠，给我们带来健康舒适。 You have always been focused on the success of your career, but lately pay

Hästens reportedly uses very distinctive materials to make the mattress; what exactly is it that makes the sleep experience so comfortable?

To make a good bed, warm and breathable, many different factors

need to be considered. This is not only about the choice of bedding material, but also with the production process- the two are inseparable.

Great materials, skilled craft; when these two come together, a

more attention to quality of life. How did you start working with Hästens?

wonderful bed can be made. Hästens does precisely this. Made with

quality wasn’t good. By chance, my first experience in Europe sleeping on a

padding; we install micro-ventilation systems into the bedding, making

the stress of my journey. It gave me food for thought: the increasingly fast pace

Our decades of experience has given us some of the world’s best

extremely important. I began to understand the passion behind this over 160 years-

stratification placement, which can reach up to a dozen layers- this

Early on, work reasons had me running around the world, and so my sleep

horse-hair, the most airy, flexible material around for hard and soft

Hästens mattress I had a rare good sleep, a sleep which alleviated so much of

the body heat and moisture created during sleep dissipate automatically.

of life means that our quality of life is decreasing more and more; good sleep is

techniques, as we put pure horse-hair, cotton, and wool in uniform

old brand, and as I understood further, I started to believe in the original idea

layering process, and not only the excellent materials, ensure that the

myself, and desired to bring this comfort to more people.

Hästens mattress offers absolute comfort.

Hästens now be regarded as the industry leader; what has pushed the success

Since 2006, you’ve been committed to the development of this

of this brand?

brand. What does Hästens mean for you?

products include bedding, mattresses and similar products. Hästens is committed

handmade, characterized by handcrafted quality that remains as

for longevity and good health, and even happiness; but our work doesn’t

throughout the eight years I have led my team with Hästens, not to

SAVIO FIRMINO to create pure handmade luxury furniture. These pieces are

all of which aim to provide customers with a healthy, comfortable

home textiles, first-class workmanship, and timeless design we do everything

more and more popular, some are saying that I made a savvy move,

is an unswerving commitment to high quality.

warmth of a family, the best night of sleep to fatigued travelers, bringing

Hästens is from Sweden, and is the world's top mattress manufacturer. Its

Hästens was founded in 1852, and until now Hästens beds are

to creating the world's most perfect bedding. Sleep is the key ingredient

excellent as at the time of founding. I learned of Hästens excellence

end there. Nowadays, we’re collaborating with Italy's top furniture brand

mention Savio Firmino furniture’s craftsmanship and our other brands,

exquisitely carved, with an elegant style created by craftsmen. With high quality

luxury sleep experience and allow them to enjoy life. As our brand gets

possible to meet the individual needs of the guests. As they say: professionalism

but to me, Hästens is more than just a business or a brand. It gives the health and comfort. That’s worth working for.

LifeStyle 91

美酒

WineClub

2015 美酒猜想

My Top Eight Wine Predictions for 2015 新一年，人们生活质量的提升自然毋庸

年的历史了。为了确保美酒在推广过程中不

置疑。同时，人们对优质葡萄酒的热情也将

仅色味俱佳，同时还传递出教育意义，领先

持续升温，各类葡萄酒的消费量定会在 2015

的经营者已经想到了为客户提供“可以带回

年创出新高。新年伊始，我对中国大陆地区

家的服务”，例如提供垫布等。这些细节不

葡萄酒产业的发展寄予厚望。

仅彰显了品质，更为鉴赏者提供了细细品评

1. 新一代的中国人已经认识到，红酒和 各类优质美酒都将有助于其生活品质的提升。

的时间与空间 , 以备其将来再次选购美酒时能 有更好的选择。

优质葡萄酒 , 特别是红葡萄酒，无论国产或是 进口，其消费量必将飞速增长。 2. 相信 2015 年中国大陆顶级侍酒师的头

国的葡萄酒爱好者都非常热衷于能亲身前往

衔仍将归属女性。最终一决高下的竞争者中

自己喜欢的酒庄一探究竟——法国、意大利、

必有 2012 中国侍酒师大赛冠军获得者、来自

澳大利亚、新西兰、智利、南非、美国加州，

上海四季酒店的女侍酒师郭莹。

不一而足。事实上 , 中国游客在全球出境游客

3. 人生的重要时刻和珍贵片段怎能少了

中所占的比重最多 , 也难怪世界各地的酒庄主

香槟的点缀？对，就是知名度越来越高的香

题游活动有越来越多中国葡萄酒爱好者的身

槟。特别是对那些经济条件达不到购买世界

影。

级最好气泡酒的人来说，一瓶来自意大利的

7. 中国大陆的顶级葡萄酒生产商将继续

Prosecco（普西哥，又名普洛赛克，一种成熟

在全球推广自己的产品，继而在激烈的市场

期较晚的白葡萄品种酿造的葡萄酒）将会是

竞争中脱颖而出，赢得更多殊荣。尽管目前

最佳选择。

中国的高档葡萄酒生产能力还无法与法国、

4. 一直以来，体验红酒文化似乎只是葡

意大利及其他顶级葡萄酒产区相媲美，但也

萄酒爱好者和成功人士的特权。但随着中国

已经可以酿造出与进口优质葡萄酒一较高下

葡萄酒文化教育的普及和持续深入，职业生

的好酒了。中国的酒厂越来越多，怡园酒庄、

涯刚起步和个人美酒之旅才启程的群体会从

贺兰山美域以及云南香格里拉德钦县的酩悦

中受益良多，将美酒与软饮料混合饮用的陋

轩尼诗酒庄，还有罗斯柴尔德 ( 拉菲 ) 集团与

习也将随之减少，同时还会带动越来越多具

中信公司在山东东部合作的项目都是明证。

备了相关知识的人才投身与红酒有关的事业。 优秀的专业侍酒师会不断涌现出来。 5. 会有更多的餐厅和酒店开始提供各种 不同档次的优质葡萄酒，甚至在飞机上也能

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6. 中国大陆以葡萄酒为主题的旅游产业 以及全球葡萄酒产地数量都将再创新高。中

8. 中国大陆地区的人们会越来越倾向于 以优质红酒作为礼物，会开始选择他们最喜 欢的葡萄酒作为特别的礼物送给朋友、家人 以及用于商务馈赠、宴请。

让客人有机会享用到红、白葡萄酒以及气泡

时光飞逝，周而复始。相信中国的优质

酒。例如，知名酒店集团喜达屋就提供“世

葡萄酒产业会继续蓬勃发展，中国也将成为

界葡萄酒”服务 , 时至今日在中国也已有 15

全球首屈一指的葡萄酒生产消费大国。

reach new heights, as Chinese wine enthusiasts of every background seek to visit their favorite wineries

Welcome to the Western New Year! 2015 will be

from France and Italy to Australia and New Zealand

a wonderful year for the continued improvement of

to Chile, South Africa and California, USA. In fact,

the quality of life for all on the Mainland, including

with the greatest number of outbound tourists now

the consumption of premium wines of every type and

being Chinese, it is no wonder that increasingly

origin, as more and more Chinese discover the joys

winery tours the world over include more and more

of consuming well-made wines that please them. So,

Chinese wine lovers.

for January, Red Owl offers you his “Top Eight Wine

7.The top producers of Chinese wines on the

Predictions for 2015”:

Mainland will increasingly enter their wines in major

1.Premium wine consumption both domestic and

wine competitions around the world and garner more

imported and in particular red wines will continue to

medals than in any past year, all well-deserved. And

increase at a rapid pace. Upwardly mobile Chinese

while China is not as yet producing super premium

Millennials have discovered that premium red wines

and all other premiums combine to elevate the quality of their ascending lifestyles.

2.The top Chinese Sommelier on the Mainland

for 2015 will be a woman. And one of the finalists will be one of the most respected Sommeliers in

China today, Ying Guo, Chief Sommelier at the Four

Seasons Shanghai Pudong, Champion of the 2012

China National Sommelier Competition.

3.Champagne from Champagne will continue to

grow in popularity as the sparkler of choice for those

with the resources to celebrate with it, especially for life’s most special, precious moments. And for those whose budget does not as yet allow for the very best of sparkling wines the world has ever known,

Prosecco from Italy will continue to advance in popularity as the next of all best possible choices.

4.Wine education in China will spread in

popularity among those just beginning their personal, premium wine journeys, having previously been

associated for the most part with wine enthusiasts of privilege and those having achieved economic

wines on a par with the best that France, Italy and

success, thus reducing the old habits of mixing

the other top quality wine producing countries

the most dedicated of these new premium wine

competing very respectably with most imported

wine with soft drinks and worse. And from among consumers will come some of China’s most devoted fine wine advocates with wine knowledge that will

consistently deliver, the finest Chinese wines are

premium wines. China based wineries such as

Grace Vineyard, Domaine Helan Mountain as well

qualify many to join the ranks of wine servers and

as the promise of impressive investments in new

5.More restaurants and hotels will offer expanded

La (Deqin) Winery in Yunnan Province and at eastern

eventually, professional Sommeliers.

premium wines by the class from modest to opulent

as well as flights of reds, whites and sparklers, such

as the renowned Starwood “Wines of the World” Program, now in its 15th year in China. And to

appellations at such as the Moet Hennessy Shangri-

Shandong by Barons de Rothschild in partnership

with CITIC are among those raising the quality bar of China premium wines.

8.Wine gifting on the Mainland will know its

insure that their wine flights are as educational

most popular year in 2015, with an ever increasing

customers with “take-home” wine tasting placemats

favorite wines as their most special gifts for friends,

as delicious, the leading operators will provide

that identify the important details of each wine and allow space for the guests to record their own notes

number of Chinese wine enthusiasts choosing their family as well as for business occasions.

And that brings us full circle, for it simply means

during their tasting experience for future reference

that for 2015, the premium wine business in China

6.Wine tourism on the Mainland as well as to

producing and consuming countries the world over.

when shopping for their favorite wines.

wine producing destinations around the world will

will better resemble that of the most respected wine I am Red Owl, as ever vigilant, over & out.

田博华，公益创业家，社会公益组织 fta 领导人。该组织以最小的运营开支争取最大限度地帮助美国及亚太地区需要帮助 的人们，并致力于通过直接的人道主义援助来减轻他们的困苦，此外还以直接干预和慈善捐赠的形式帮助柬埔寨和泰国的 贫困家庭和个人。目前 fta 在泰国曼谷和柬埔寨金边设有办事处。

fred tibbitts, Jr. heads a Social entrepreneurship operated as an NgO, fred tibbitts & associates or "fta", keeping all expenses to a minimum and donating all profits to those less fortunate in asia pacific and the United States. fta is committed to easing the suffering of those less fortunate. in addition, fta does direct intervention, charity relief for individual, very poor families in Cambodia and thailand. fta has offices at Bangkok, thailand; and phnom penh, Cambodia.

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大马新地标

A Shining City on a Hill LifeStyle 带你探访被称为 “亚洲最美商场”之一的东南亚豪华生活体验地 ——吉隆坡升禧艺廊。 LifeStyle visits Starhill Gallery- one of Southeast Asia’s most exciting luxury destinations.

Text: Mollie Snyder

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W

arm sun, friendly locals, amazing seafood; there have always been

lots of reasons to visit Malaysia, but until recently, luxury was not

one of them. It might be time to reassess that, though; while in years

past, Kuala Lumpur was overshadowed by Singapore as a luxury destination, Starhill Gallery is starting to change that.

Probably the first thing you’ll notice as your taxi drops you off

is the amazing architecture. Constructed using lightweight steel and

state-of-the-art technology, it features sleek, angular stone and glass panels of glimmering liquid-like effect. In fact, Starhill is situated in

温暖和煦的阳光、热情好客的当地人、诱惑难挡的海鲜……如 今，吸引你来马来西亚的理由又多了一条，那便是奢侈品店铺林立 又配有高级餐饮设施的理想购物地——升禧艺廊。一直以来，吉隆 坡的魅力似乎总不及其近邻新加坡，但相信升禧艺廊的出现会改变 人们旧有的看法。 推开车门，首先映入眼帘的便是升禧艺廊令人惊艳的建筑外观。 多边形玻璃面与石质面砖拼接出液体般闪闪发亮的折射效果，采用 先进科技和轻钢结构打造的这一棱角分明的独特建筑带给人扑面而 来的时尚与前卫感。升禧艺廊坐落于吉隆坡市中心，这一区域不仅 汇聚全球创新建筑设计典范，更有可与香港和新加坡一较高下的都 市风尚。与之相连的 JW 万豪和丽思卡尔顿两家酒店是理想下榻之 选，共同组成了吉隆坡舒适高雅生活的首选目的地。游客来到升禧 艺廊便可足不出户畅享酒店 SPA 和城中顶级餐饮、休闲项目。 SPA 再特别，游客也不会单纯为了享受按摩而不远万里纷拥至 此，所以升禧艺廊游人如织的秘密就在于其奢侈品售价低于中国大 陆地区 30% 的价格优势。由于税率不同，即使打着头等舱的“飞的” 来此放手“血拼”，也包你值回票价。升禧艺廊不仅为马来西亚本 土才华横溢的设计师们提供了展示作品的机会，更是众多豪华手表、 珠宝品牌的大秀场。瑞士名表爱彼、恒宝、宝玑、贝达、西班牙皇 室特许珠宝供应品牌 Carrera y Carrera、以及曾被维多利亚女王颁赐 “皇冠珠宝商”美誉的 Garrard，不胜枚举。此外，这里还颇受各 大腕表及珠宝厂商青睐，多次作为亚洲最具规模的名贵腕表珠宝展 “时光之旅”的举办地。2014 年，第八届“时光之旅”热度依旧， 也使吉隆坡可与巴塞尔一较高下了。 想象一下，入住酒店后的你卸下一身疲惫，隔窗远眺吉隆坡美 丽的城市天际线 ; 看下时间，是时候享用一顿咖喱蟹大餐了……升 禧艺廊有七个不同主题的楼层，提供各类顶级奢华兼具良好私密性 的极致体验——东南亚特色美食、精致的珠宝手表、舒适的 SPA、 还有五星级酒店。美食、时尚、家居、美容与人文艺术——升禧艺 廊是吉隆坡摩登生活方式的最好诠释。

the middle of Kuala Lumpur’s downtown, an area increasingly gaining accolades globally for innovative architecture and a sleek urbanism

that can rival Hong Kong or Singapore. If you’re wondering where to

stay- no worries; the J.W. Marriot and the Ritz-Carlton are built into

Starhill itself; you can check in, drop off your bags, and head for the spa without even having to go outside.

Spas are easy to find anywhere, though, and you probably didn’t

come just for the massage. What really draws visitors to Starhill,

particularly from mainland China, are the luxury goods that can be

as much as 30% less expensive than those obtained in the mainland,

due to different taxation systems. Indulge yourself- even after the price of your first-class plane ticket, you’re saving money by being

here in the first place. In addition to the numerous talented Malaysian designers (more about them later), Starhill is really known for luxury

watches and jewelry, whether big brands like Audemars Piguet, Hublot or Breguet or more boutique, couture-style contenders such as Bedat, Carrera y Carrera, or Garrard. It’s often chosen by the horology industry as the site for events, such as the recently held “A Journey

Through Time,” Asia’s premier timepiece and jewelry showcase. 2014 was the 7th year that the event was held, and it shows no sign of losing

steam; for the finest watches in the world, Kuala Lumpur is on a level with Basel.

Imagine yourself ensconced in your hotel room, gazing out the

window at KL’s skyline and inspecting your lovely new watches over some curried crab. Whether it’s exotic Southeast Asian cuisine, the

finest in jewelry and watches, luxuriant spas or outstanding five star hotels, Starhill Gallery is truly an experience destination. The seven

luxurious floors offer quality, privacy and exclusivity in the heart of one of Asia’s most exciting cities- but trust us, it looks better from

the window than street level. Food, fashion, living, beauty and art Starhill Gallery is Kuala Lumpur's ultimate statement of style.

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闪耀时光之旅 “时光之旅 VIII”名贵腕表及珠宝展在吉隆坡升禧艺廊成功举办。

A Journey Through ime - Asia’s Premiere Timepiece and Jewelry Showcase Text: Mollie Snyder

马来西亚凭借“时光之旅 VIII”名贵腕表及珠宝展再次成为全球瞩目的焦点。由马来西亚杨忠礼集团 (YTL) 主 办的此次展览吸引了 30 多个国家的百万余参观者 , 众多知名设计师和品牌共襄盛举。此次全球瞩目的展览活动进一 步提升了吉隆坡核心地带旅游休闲目的地升禧艺廊作为世界顶级购物中心的地位。 The often overlooked country of Malaysia is shining in the diamond studded spotlight once again at ‘A Journey Through Time’.

Presented by YTL Corporation, this world renowned event attracts over one million visitors each year from more than 30 countries to the Starhill Gallery in Kuala Lumpur. The luxurious event is redefining the standard of shopping by offering the world the best in

global horology and jewelry. These timepieces and classic pieces of jewelry from the best in the industry make The Starhill Gallery quite possibly the best shopping destination for luxury in the world. With the dedication and quality commitment brought forth by these designers, it’s no wonder Kuala Lumpur has become a drool-worthy retail haven for the watch and jewelry lovers of the globe.

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Garrard& Co

成立于 1735 年的 Garrard 曾被维多利亚女王颁赐“皇冠珠宝商”的美誉，且多次为王室人员设计加冕皇冠，地 位举足轻重。除了被英国皇室肯定外，有着近 300 年历史的 Garrard 珠宝也备受各国皇室赞誉。这条 18 克拉梨形钻 石白金项链的灵感来自象征着希望与重生的雪莲花，其设计巧妙融合了传统与当代珠宝设计之美，凭借精湛的切工 和震撼人心的整体效果赢得了今年的永恒珠宝大奖。 Established in London in 1975, Garrard & Co, official jeweler to the Queen of England, has been on a journey to create

distinguished, precious jewels. The quality of Garrard & Co is ever more emphasized by the commissions received from royalty all around the world. With over 275 years of rich heritage, it is beautiful to see how the oldest jewelry house in the world is able to capture

its unique past and combine that with today’s modern relevance. The Garrard Snowdrop Diamond Suite Necklace, which features one

of a kind 18 carrot white gold pear shaped diamonds and a breathtaking cut, won the Starhill Gallery’s “Timeless Jewelry Award”

this year. The Snowdrop Necklace was inspired by the snowdrop flower that is a symbol of hope, rebirth and transformation. The inspirational designs from Garrard & Co highlight the beauty in combining tradition with contemporary jewelry design.

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Gubelin Gubelin 是一家瑞士古老的制表维修家族企业，同时也是著名的珠宝鉴定和订制企业。凭借对知识和美的 不懈追求，Gubelin 以其精湛工艺打造出一件件传世之作。160 多年来，Gubelin 鉴定设计过的顶级宝石、首饰 及腕表不计其数。彩色宝石代表了威严、神秘和火，充分体现了人类艺术与大自然的交融。Gubelin 集优雅、 经典与现代设计于一身，成就了每个珠宝爱好者的梦。 The passion for knowledge and beauty are the basis for the foundation of Gubelin jewelry. Gubelin is a Swiss heritage brand

that features gemological skill, excellence in jewelry craftsmanship and extraordinary customer service. For over 160 years Gubelin has been verifying gems, designing and creating the highest quality of precious stones, jewelry and watches. Gubelin’s newest gem collection titled, “Celebrating the Soul of Nature’s most precious Gems” will be featured in a luxurious boutique at the Starhill Gallery. The colored gemstones are representative of majesty, mystery and fire, three words that express Gubelin’s ability to bring human artists and mother nature together as one. The precious stones curated by Gubelin are the dream gift for

all jewelry connoisseurs. Gubelin brings elegance and class to modern jewelry.

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卡瑞拉・卡瑞拉

Carrera y Carrera Madrid

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Promotion

雅典表

Ulysse Nardin 雅 典 表 始 创 于 1846 年， 以 手 艺 精 湛 的钟表制造家雅典先生命名，四锤三问是 其经典设计。凭借精湛的制表工艺及创新 能 力， 雅 典 表 揽 获 4300 余 项 时 计 大 奖。 独创的镂空表在今年升禧艺廊“时光之旅 VIII”名贵腕表及珠宝展上获得工艺精湛腕 表奖。 Ulysse Nardin is a revolutionary watch

company with history dating back more than 165 years since its foundation in 1846. Since

then, it has won over 4,300 watchmaking awards for its quality and outstanding technologies and

inventions. The many watch models designed

by Ulysse Nardin are created with a four-pillar

system for simple navigation. With their bold innovation, it’s no surprise that they have recently taken home the “Watch With Complications in

Movement Award” at this year’s Starhill Gallery

Timepiece Showcase.

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宝达家

Bedat & Co 瑞士奢华女性腕表品牌宝达家注重细节， 其如诗般的炫丽和卓越的性能深深吸引着每 位成功自信的优秀女性。创始人西蒙宝达夫 人用尽毕生时间在家乡瑞士日内瓦经营该品 牌，其创作灵感来源于通过传统装饰艺术展 现女性独特之美，将腕表的感官与性能完美 融合。每一枚腕表都传承瑞士制表工艺，力 求为所有的女性制造出精良工艺和非凡设计 的高级腕表。在 151 颗珍贵钻石的环绕下， 乳白色蔓藤花纹表盘搭配防反光蓝宝石水晶 镜面和宝达家蓝钢指针更显品味。在今年升 禧艺廊的“时光之旅 VIII”名贵腕表及珠宝 展上，宝达家也获得了最受女性欢迎腕表奖。

Arabesques and twirls inspired by Art Deco

style describe the one-of-a-kind Bedat & Co timepieces. Founded by Madame Simone Bedat,

these intricately crafted watches are dedicated to every successful, independently-minded and

cosmopolitan woman. Bedat & Co took home the

coveted award for “Favorite Ladies Watch” at this year’s award ceremony at The Starhill Gallery. The

Bedat & Co watches feature Geneve dials, sapphire crystal interiors, a crown protector set with 151

diamonds and blue steeled hands. This Swiss brand truly brings excellence and poise into the world of timepiece design.

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Maitres Du Temps Maitres Du Temps，意为“时间大师”，是一个大胆采用全新制表概念的品牌，致力于为每位佩戴者提供顶级体验。 自 2008 年发表首支表款以来，Maitres Du Temps 与制表大师合作打造了众多突破精品时计极限的杰作。其全历腕表最为 出众，不仅功能齐备，还搭配了防反光蓝宝石水晶镜面和符合人体工程学的独特设计。 Maitres Du Temps seeks to give its customers the best time-telling experience possible. The words Maitres Du Temps means, “Masters

of Time” which accurately describes the unparalleled brand. With their watches clear, clean cut indications of the month, day of the week

and time, the triple calendar wrist watch is in a league of its own. The dials of the watch feature three anti-reflective sapphire crystals and two ergonomic pushers, and are artistically engraved with their respective functions. Every single detail of the Maitres Du Temps watches are carefully considered during production. Since their arrival on the scene five years ago, they have designed numerous creative and legendary timepieces time and time again.

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Cecil Purnell 瑞士新锐品牌 Cecil Purnell 是唯一只用陀飞轮作机芯的高级钟表品牌，代表着最高品质制表工艺， 专注具备复杂功能的陀飞轮设计上。专业、专注、独立的制表理念也体现了高级腕表的制造精髓。获 得 2014 年的 YTL 古典艺术大奖的 V-16 GMT 双陀飞轮腕表拥有蓝宝石表壳和独立制造的可透视陀飞轮 表芯及内部精细部件，每年只生产 50 只。每款 Cecil Purnell 腕表都是独一无二的奢华定制。 A company that firmly believes the Tourbilion movement remains the benchmark of a watch-making experience,

Cecil Purnell is emblematic of one of the highest qualities in craftsmanship the watch industry has ever seen. Cecil

Purnell’s philosophy is based on expertise, commitment and independence, all of them the true values of Haute

Horlogerie. The French born Cecil Purnell was known for his fascination of the intimacy of mechanical movements. It is no surprise that Cecil Purnell has taken home the 2014 “YTL Spirit of Classical Art Award” at the Starhill Galleries

ceremony. The award was in honor of the V-16 GMT Double Tourbillon watch, which features a crystal sapphire

floating dial and unique craftsmanship in that the company voluntarily limits production to 50 watches per year. Each masterpiece created at Cecil Purnell is ensured to be one-of-a-kind and meticulously crafted to guarantee a unique design and custom made luxurious timepiece.

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“传奇 DNA”腕表

RJ Skylab 2004 年， 独 立 制 表 品 牌 RJ-Romain Jerome 在瑞士日内瓦成立。除了让人印象深刻 的设计和特性，其品牌理念也独树一帜—— 让每位佩戴者能在腕上拥有“人类历史的一 部分”，即所谓的“传奇 DNA”。RJ-Romain Jerome 希望以这种特立独行的制表精神来纪 念当代人类传奇，从海洋，天空以及人类生 活的地球中汲取灵感，将各种材料融入其腕 表制造中，比如泰坦尼克的残骸，月球尘埃 和冰岛火山灰等。Skylab RJ.M.AU.025.01 是 RJ-Romain Jerome 的佳作之一。不锈钢材质的 44mm 超大表盘，采用了前卫的镂空设计。经 典牛皮腕带搭配简单的不锈钢针扣，让整款 腕表倍显干净利落又不失稳重。想要购买的 朋友建议前往马来西亚，会比国内便宜不少。 Founded in Geneva, Switzerland in 2004, RJ-

Romain Jerome is a premium watchmaker with

stunning designs and timepieces that contain among features. The watchmaker is well-known for its

unique concept of ‘DNA of Famous Legends’.

This means that the Swiss-made watches allow customers to own a part of history by creating timepieces that are inspired by the DNA of a contemporary

legend. For example, a sophisticated watch by RJ may contain recovered

steel from the titanic, or mingling

silver with moon dust. The Skylab

RJ.M.AU.025.01 is one of the brands

finest pieces. The watch features a

44mm stainless steel case along with

a black PVD sapphire crystal dial. The

watch also comes with a calfskin strap and

stainless steel pin buckle. To get your hands

on one of these distinct watches you must leave mainland China, where they are not available for purchase, and make your way to Malaysia to find the best in luxury timepieces.

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停不下来的折扣

Malaysian Values 作为“亚洲最美丽的商场之一”的马来 西亚吉隆坡升禧艺廊购物广场绝非浪得虚名， 这里不仅汇聚了上百家来自世界各地的名牌， 如 LV、Chanel、Celine、Versace、Prada、 Gucci 等， 更 重 要 的 是， 没 有 关 税！ LV 的 一个 Neverfull 包在中国大陆售价约人民币 1,5700，而在升禧艺廊只需人民币 1,1979 节省 了 30%。欧米茄的 Seamaster Planet Ocean 海 马海洋宇宙 600 米潜水腕表一直备受航海员 和海底潜水爱好者的青睐，升禧艺廊的售价 为人民币 5,4371，但你在国内需要支付 7,5867 元。 One of our favorite features of shopping at

Starhill? Malaysia’s favorable tariff duties means

that luxury items are substantially cheaper here than those you’d find in China. We picked up a Louis

Vuitton Neverfull bag priced at MR 6,700 (RMB 11,979); in China, that bag would be 15,700- a 30%

savings. Omega’s Seamaster Planet Ocean 600m Omega Co-axial Chronograph is water-resistant to depths up to 600 meters. In Starhill, we picked it

up for MR 29,900 (54,371 RMB), compared to a domestic China retail price of 75,867 RMB.

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吉隆坡丽思卡尔顿酒店 : 恋恋吉隆坡

The Ritz-Carlton Kuala Lumpur: For When You Never Want to Leave 吉隆坡丽思卡尔顿酒店位于远近闻名的升禧艺廊购物中心，周边还有吉隆坡购物中心、 国家石油公司双子塔、独立广场等著名景点，地理位置可谓得天独厚。酒店共设 365 间客房， 其中 114 间豪华套房和套房公寓独立于一座塔楼中，能欣赏城市和泳池景观。此外，酒店跻 身全球 5 强的全程管家服务让人赞不绝口，24 小时的真挚关怀熨帖人心。水疗中心采用了热 带花园主题，满目葱郁，自成一方幽土，让人远离尘世喧嚣，感受内心宁静，重新恢复活力。 何不就由此开始探索这座传统与现代交融的城市？如果这个良好的开端让你不舍离去，那么 入住酒店的套房公寓是个实惠的选择！ Kuala Lumpur’s very own Ritz Carlton combines high-quality luxury and care with an amazing location

inside the heart of Starhill Gallery. The hotel has 365 rooms, including a tower of 114 luxuriously appointed

hotel suites as well as residential suites, including two or three bedroom options complete with a view of the

city and pool. Besides the breath-taking views from Ritz-Carlton windows, the care and commitment to each guest is outstanding. Rated among the top five butler-service hotels in the world, at the Ritz-Carlton KL you will be pampered with butler services 24 hours a day. The Ritz-Carlton Kuala Lumpur also has an awardwinning apa, located on the fourth floor of the hotel. The tropical garden themed spa is full of lush greenery,

and will help you rejuvenate yourself after you’ve shopped until you drop. The hotel is good to start, but if you love it so much that you can’t bear to leave, check into the residences for an extended stay.

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艺术

Art

后波普：东方遇见西方

Post-Pop: East Meets West 一场检视波普艺术对现代艺术影响的展览在伦敦萨奇画廊开启 The Saatchi Gallery presents an exhibit examining Pop’s influence on contemporary art Text: Jeffrey Ying Photos: Saatchi Gallery

2014 年 11 月 26 日—2015 年 2 月 23 日，由楚卡诺夫家 族基金会发起的展览“后波普：东方遇见西方”在伦敦萨奇 画廊开展，这场全面的展览将首次探讨在 20 世纪的各项艺术 运动中，波普艺术如何用其强大的感染力，影响了世界各地 有着不同、甚至对立意识形态领域里的艺术家们。 展览集结了来自中国（含台湾地区）、前苏联、英国和 美国的 110 位知名艺术家的 250 件作品，堪称迄今为止最大 规模探讨波普艺术形式和持续影响的展览。展览从波普艺术 鼎盛时期在这些不同区域的艺术创作开始梳理，以栖息地、 广告与消费主义、名人与大众传媒、艺术史、宗教和意识形 态以及性别和身体六个主题进行展示。 波普艺术被公认为上世纪最为意义深远的艺术运动之一， 充分运用了来源于大众媒介和日常生活中可辨识的意象来反 映我们所生存世界的本质。本展检视了广为人知的西方波普 艺术和相对而言较少人了解的前苏联“苏刺艺术”，以及中 国的“政治波普”和“批判现实主义”之间的关系。运用幽 默白话的表现语言，自如借用流行文化，波普艺术打开了后 世代艺术家们探索流行视觉意象之门，并通过所鉴所用图像 的公众熟悉度，建立起与普罗大众的联系。前苏联无处不在 的宣传图文堪比西方大规模生产的商品和广告，在中国，它 们又变成了社会主义现实主义的视觉意象。 尽管这些艺术家们有着根本上的文化和意识形态差异， 但其创作的商业广告、宣传海报、名人肖像以及讽刺作品里 的货币和爱国主题都准确反映了 20 世纪 50、60 年代兴起于 英美的波普艺术运动的精神。

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Grisha Bruskin Man with Portrait of Lenin.

From the series Paradise Lost 1990

前苏联的作品主要集中在表现国家 集权、整齐划一的人民以及庆典盛况上； 英美对物质崇拜、名流和名利世界膜拜 的批判居多；而中国由于经历了一个经 济极度紧缩的时代后，对财富和奢华的 沉迷导致了社会错位——所展出的作品 多是对这一现象的评论。 The Tsukanov Family Foundation and

Saatchi Gallery is showing Post Pop:

East Meets West, the first comprehensive exhibition examining why Pop Art, of all the

twentieth century’s movements has had such a powerful influence over artists from world

regions that had or still have very different and sometimes opposing ideologies.

The exhibition brings together 250 works

by 110 renowned artists from China, the

former Soviet Union, Taiwan, the UK and

USA in the largest survey to date exploring

Pop Art’s enduring legacy. Post Pop: East

Meets West will celebrate the art being Jeff Koons Encased - Three Rows (6 Wilson Jet Basketballs, 6 Wilson Michael Jordan Basketballs, 6 Spalding Zi/O Basketballs) 1983-1993/98

produced in these distinct regions since the heyday of Pop, and will present them in relation to each other through the framework of six themes: Habitat;

Advertising and Consumerism; Celebrity and Mass Media; Art History; Religion and Ideology; Sex and the Body.

Widely regarded as the most significant art movement of the last century,

Pop Art exploits identifiable imagery from mass media and everyday life

to reflect on the nature of the world we live in. This exhibition examines

the relationship between western Pop Art and its lesser-known eastern

Wang Guangyi Great Criticism: Benetton, 大批判 , 1992

counterparts including “Sots Art” in the Soviet Union and “Political-Pop” or

“Cynical Realism”, which has flourished in Greater China since the turn of the

twenty-first century. Using humor and a vernacular language, and borrowing freely from popular culture, Pop Art gave subsequent generations of artists

the license to exploit popular visual imagery and to connect with the public through the familiarity of the images being referenced. In the Former Soviet

Union the abundance of imagery comparable to mass produced commodities and advertising in the West was propaganda images and text, and in Greater Keith Haring Elvis Presley 1981

China visual iconography of Socialist Realism.

Although from fundamentally different cultures and ideological

backgrounds, the artists in this exhibition play with imagery from commercial advertising, propaganda posters, pictures of the famous as well as monetary and patriotic motifs in wry and provocative works that unmistakably

In the Soviet Union region these works draw attention to state control,

conformity, ceremony, pomp and the façade of unanimity amongst the people; in America and the UK they serve as a critique of commodity fetishism, the cult of celebrity and our mass-produced, status-driven manmade world; and in

Greater China as commentary on the social dislocation created by a new super

power’s fascination with wealth and luxury following a period of extreme austerity.

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艺术

Art 唐卡、漆画等艺术特点。在他的笔下，寻常 可见的耕牛、猫头鹰被赋予了喜怒哀乐的各 色情感，容态各异的人像符号不时从画面中 跳跃出来 , 为我们讲述一个更古老也更神秘、 既亲切又陌生的中国乡村。正如贾方舟先生 在他的评论文章所写的那样，“他作品中那 种稚拙趣味与无拘无束的状态是发自天性的 创造，不受任何学院教条和传统规范的束缚， 完全是一种本色的流露。即使专业画家也难 以做到那样不假修饰、自自然然、随心所欲 地画画。”

刘洪利：阡陌之间的艺术梦想

An Artistic Dream Found Between Terraced Rice Paddies

在 15 米长卷《地球之殇》中，刘洪利的 艺术野心表现得更为彻底。这部作品是 2008 年汶川大地震后，他为悼念遇难同胞而精心 创作的。长卷从地震之前小动物们的惊慌情 态落笔，用极尽夸张的想象和构思，生动刻 画了人性在灾难面前的坚韧与挣扎，完整展 现了从地震前兆到灾后重建的过程。其中既 可以看到毕加索名作《格尔尼卡》那样对符 号解构和象征暗示手法的娴熟应用，也有着 东方文化对人类命运和生命意义的深刻思考。 而巨大的尺幅和对“时间”元素的独特运用， 更为其平添了一种“艺术史诗”般的厚重感。

他是河北沧县刘家庙村一位普普通通的

和社会名流到场助阵，还有不少资深藏家专

农民，从未受过一天正规学院教育。他坚信

程前往观摩。30 余幅参展作品中，多幅作品

欣赏刘洪利的作品，如同踏上一次久违

超现实主义大师达利的名言：“艺术家与疯

现场高价成交，其中两幅以猫头鹰和牛为主

的梦想旅程。乡土阡陌的美丽与富饶、从容

子之间的唯一区别是他还没有疯”，并用 30

题的作品还一度引发藏家激烈争夺。这在近

与豁达，从喧嚣都市的边缘纷至沓来，缤纷

年时间在耕作之余追逐自己的梦想。他在艺

年饱受行业景气之累的 798，算得上一个不小

绽放。著名文化学者、北京师范大学教授于

术与生活之间划出了截然的界限，却画出了

的奇迹。

丹不仅坦诚自己是刘洪利忠实“粉丝”，而

很多职业画家魂牵梦绕而又无力正视的艺术

中国的农民画以浓郁的地域人文风貌见

且认为其作品的最大魅力在于，用“天真鲜

感觉。他，就是首位在北京 798 艺术区举办

长，也往往沦为奇观化的视觉集锦。而刘洪

亮的生命主题”和“劈空道来的笔墨诗意”，

个人作品展的农民画家——刘洪利。

利的作品却以其“丰富的艺术想象力、自由

冲击着观众对现代绘画特别是中国本土绘画

2013 年 11 月 30 日，北京盛世天空美术

流动的大曲线和图案化的平面感”，彻底颠

的刻板印象，为大家“打开一扇门，看到人

馆举办了一场别具乡土气息的展览——“阡

覆了关于农民画的传统想象。他的画既吸收

的更多可能性”。北京书法家协会副主席、

陌之间”刘洪利绘画作品展。然而，现场的

了中国传统书画的笔法意趣，借鉴了学院绘

著名书法家田伯平更盛赞其作品颇有近于王

气氛却是少有的热烈。不仅著名艺术评论家

画的造型技法，同时广泛征引西方立体主义、

羲之名作《兰亭集序》的书家境界。

贾方舟、著名歌唱家戴玉强等诸多业内专家

超现实主义的现代元素，更杂糅岩画、壁画、

112 LifeStyle

L

iu Hongli comes from Miao Village, Changxian, Hebei, where he and

his family lived a simple life as peasants, never having received a formal education. Growing up, Salvador Dali’s words echoed in his mind, as he

agreed with the surrealist master; “The only difference between an artist and a madman

is that he has not gone mad yet.” He has assiduously cultivated his dreams throughout

thirty years of living life as a peasant-drawing a vivid line in between art and life, but

in the contrast between the two also captured an artistic sense that other professional artists had dreamt about but failed to bring to life.

The first peasant art painter who held a solo exhibition in Beijing’s 798 Art District,

he is the the one and only Liu Hongli.

On November 30 2013, Sky Moca Gallery held a local-themed exhibition titled;

“Between the Terraced Rice Paddies,” showcasing the artworks of Liu Hongli. Not

only did the notable art critic Jia Fangzhou, singer Dai Yuqiang, and other celebrities

and industry experts attend the exhibition, along with the presence of a great number of experienced collectors, but more than 30 pieces of artwork were exhibited and valued

with high prices. Two of the pieces, showcasing a picturesque theme of owls and cattle, were fiercely fought over by many collectors during the exhibition. These evocative landscapes received attention like few works in 798 have done.

Chinese Peasant Painting reflects a strong regional geography or cultural landscape,

often being perceived as a reflection of nature. In the works displayed, Liu Hongli

showcased his rich artistic imagination with a sense of free-flowing curves and patterned surfaces in every painting, renewing the concept of the Chinese Peasant Art.

His paintings have absorbed the charm of Chinese calligraphy, borrowing its styling

techniques which are combined with the influence of western cubism, modern elements

of surrealism, mixtures of petroglyphs, muralism, Tibetan Thang-ga, lacquer painting,

and other artistic styles. His works, particularly the owl and cattle series, feature varied

emotional colors, revealing a symbolic portrait that jumps out of the canvas from time

to time, inviting us to discover the Chinese countryside with its ancient mysteriousness, which is intimate, yet unfamiliar at the same time. As Jia Fangzhou wrote in his

commentary, “Liu’s unique taste and art feels natural, without any institutional dogma or traditional boundaries. He offers us a paradigm of a completely authentic art with

true colors. It’s a hard thing to achieve even for a professional artist to just draw spontaneously without creating any artificial modification.”

Liu Hongli’s artistic ambition was recorded thoroughly in his 15 meter long “The

War of Earth” painted scroll. This artwork was made in memory of all the victims of

the 2008 Sichuan Earthquake. The scroll landscape, starting from a scene from the preearthquake panic of the small animals was drawn with in a hyperbolic way, vividly

portraying the resilience and struggles of humans in the face of disaster. Reliving the

phases from the earthquake precursor to its post-disaster reconstruction, such symbols

of deconstruction and symbolism could only be seen in Picasso’s skillful application

of tactics hinted on his masterpiece “Guernica.” At the same time, Liu Hongli also

presents the audience with a profound oriental culture reflection on human destiny and

the meaning of life. The long scroll paper with its unique use of as a “timeline,” added a strong epic feel to the work.

Enjoying the artwork of Liu Hongli is like entering a whimsical dreamscape

journey. The rice paddy terraces and beautiful landscapes represent calm and expansive views pouring in from beyond the border of the hustling city one after another with blossoming colors.

A notable scholar and professor of Beijing Normal University, Yu Dan, stated the

greatest charm of Liu’s paintings lies on its “innocent light of life” theme and its

“spontaneously poetic traces of ink” that have innovated the possibilities for modern

paintings within the Chinese tradition, opening their eyes to the many possibilities of human lives. The Vice-Chairman of Beijing Calligraphers Association and a famous calligrapher Tian Boping praised his works even more by comparing them with the realm of Wang Xi’s masterpiece known as the “Orchid Pavilion”.

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活动

events

成都瑞吉酒店盛大开业

Style in Sichuan: The St. Regis Chengdu Opens

供来宾品尝。晚宴还特邀大型爵士乐团现场 助兴表演。伴随经典曲目，舞者们以曼妙舞 姿融汇创新精神将传统查尔斯顿舞与现代舞 蹈结合呈现。此外，一场由设计师潘雪梅用

成都瑞吉酒店盛大开业，系列活动由大

人罗健等。巴西艺术家 Chris Buissa 受邀为品

蜀锦打造的现代时装秀，更是以摩登之姿精

型定制壁画揭幕仪式拉开序章。各界名流、

酒阁特别定制了这幅壁画杰作，融合成都古

妙展现传统之美。作为中国西南地区最新的

业内领袖人物以及风尚引领者云集，包括国

今风情的创作既引人瞩目，又与品酒阁高雅、

奢华酒店，成都瑞吉酒店定将为更多游客打

际影星李冰冰、四川美食家协会主席李树仁

迷人的气氛融为一体。大师级侍酒师朱童先

造无与伦比的旅行体验。

以及瑞吉、豪华精选与 W 全球酒店品牌领导

生还精选了世界顶级香槟与红、白葡萄酒， The St. Regis Chengdu celebrated its grand

opening with one of the most lavish events Sichuan has seen is recent years, unveiling the St. Regis Chengdu mural in an evening of local celebrities,

influencers and tastemakers including Chinese actress Li Bingbing, President of the Sichuan

culinary association Li Shuren, and Paul James, Global Brand Leader of St. Regis, The Luxury Collection, and W Hotels Worldwide.

The evening began in Decanter, St. Regis

Chengdu’s gourmet wine bar, with the unveiling

of the St. Regis Chengdu mural by artist Chris

Buissa.? The mural reflects the Brazilian artist’s interpretation of ancient and modern Chengdu.The guests were able to sample a wide selection of the world’s best champagnes and red and white wines,

carefully curated by St. Regis Chengdu’s master

wine sommelier Tong Zhu.?A jazz band played

standards and classics, as well as contemporary dance hits. Ms. Zue Mei Pan unveiled her modern

Shu Brocade design. For those exploring a new generation of luxury in Sichuan, the St. Regis Chengdu is certainly the place to be.

116 LifeStyle

尼古拉斯丛林派对 暨长沙运达喜来登酒店 2014 圣诞点灯仪式 Santa Claus Jungle Party Sheraton Changsha Hotel 2014 Lighting Ceremony

12 月 5 日晚，长沙运达喜来登酒店 2014 圣诞点灯仪式暨尼古拉斯丛林派对在酒店大 堂隆情上演。酒店携手住店客人、客户代表、 湖南各大主流媒体人士约 160 人欢聚一堂， 共同见证这一闪亮时刻。 酒店门外高达十余米的圣诞树上，被可 爱的小麋鹿、雪花和星星灯装扮得分外美丽。 姜饼屋、糖果树、圣诞老人和卡通人物，将 酒店大堂内装扮得宛如童话世界；地道的圣 诞烤火鸡、精致糕点、热饮等美食让嘉宾们 享受着舌尖上的圣诞快乐！ 酒店唱诗班用优雅动听的歌声为嘉宾们 传唱福音，开启活动序幕。酒店总经理林咏 顺先生向现场来宾致欢迎词。随后，林总与 酒店贵宾苏大卫先生一同启动点灯！美妙的 圣诞音乐顿时响起，可爱的圣诞老人从舞台 后跑出，与现场嘉宾互动、合影，现场气氛 欢快热烈，好像在上演一出流光溢彩的童话

On December 5th, 2014, Sheraton Changsha

Hotel successfully held the 2014 Lighting Ceremony

- Santa Claus Jungle Party in the lobby. The in-

house guests, customer representatives along with

the mainstream media friends in Hunan gathering together, total around 160 persons to experience this shining moment.

Outside the hotel up to ten meters of the

Christmas tree had been decorated with lovely

little deer, snowflakes and star lights. The lobby dressed up like a fairy tale world surrounding with

the ginger house, candy tree, cartoon dolls and Santa Claus. All the guests were enjoying a merry Christmas with roast turkey, delicate pastries, hot drinks and other theme cuisine.

The General Manager of Sheraton Changsha

Hotel, Mr. Wilson Lum gave a welcome speech to all the guests after hotel choir sung gospel with

elegant and beautiful songs, the lights were lit by Mr. Lum and Mr. David Su, the hotel VIP guest

subsequently. The following shows bring a cheerful atmosphere as if on a colorful fairy tale.

剧。 据悉，酒店选择“尼古拉斯丛林派对” 作为点灯仪式的主题，不仅仅是为了给星城 市民带来西方地道的圣诞节日文化，更重要 的是将绿色丛林这种代表着幸福、感恩的福 音传递给每一位客人。

It is reported that Sheraton Changsha Hotel chose

the “Santa Claus Jungle Party” as the theme of the 2014 lighting ceremony aimed to show the western Christmas culture for the citizens, what’s more, to

share the happiness and thanksgiving to every one of the guest.

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活动

events

北京财富中心千禧公寓 “音韵”五周年慈善社交盛宴 Millennium Residences @ Beijing Fortune Plaza “Song Of Music” the 5th Anniversary 2014 年 11 月 14 日晚，千禧公寓“音韵”五周年庆典活 动在北京财富中心千禧公寓隆重举行，160 余位各界名流出 席了此次活动。庆典以高雅的古典钢琴演奏会开场，著名钢 琴演奏家任舒曼先生及其得意门生王思琦到场献奏。千禧公 寓一直关注的残障孤儿成长项目“牧羊地儿童村”的创始人 贝天牧先生也来到了现场，并接受了千禧公寓热心同事及活 动来宾捐助的善款共计 2 万 5 千余元。精彩的演出让到场嘉 宾度过了一个难忘的夜晚，也成就了一场意义非凡的慈善社 交盛宴。 On the night of Nov. 14th, 2014, the 5th Anniversary Celebration

Activity for “Song of Music” was ceremoniously held in the Millennium Residences. 160 guests sharing the wonderful time

gathered under the roof of STARR 1 of Millennium Residences.

The celebration activities began with an elegant classical piano performance by the renowned pianist, Mr. Schumann Ren. The

founder of The Shepherd’s Field , Mr. Tim Baker was present to

accept the donations from the Residences colleagues and all the

guests, which totaled over 25,000 yuan.Since 2012, Millennium Residences has participated in aiding the orphans with disabilities

through “The Shepherd’s Field Charity Fund”. The guests enjoyed a romantic evening in a harmonious and happy atmosphere.

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百年德国品牌落户京城 —— 施泰根博阁集团万世名流酒店盛大开幕 Hotel Maximilian Grand Opening in Beijing 2014 年 11 月 30 日晚，数百位来自不同领域的行业翘楚、 社会名流及知名媒体汇聚北京万世名流酒店，共同见证了来 自德国的百年酒店品牌在北京绚丽绽放的耀眼时刻。活动当 晚由酒店投资方吉林华阳集团以及酒店管理方德国施泰根博 阁集团的管理层共同为酒店开业剪彩。酒店总经理宋彼得先 生还为入住酒店的第一位客人——德国铁路局中国区总经理 frank Stadus 先生颁发了意义非凡的奖项和礼品，感谢 frank Stadus 先生及其公司对酒店的支持。来宾们共同品鉴了酒店 普拉纳餐厅正宗的德式美食及普拉纳鲜酿啤酒，现场还有唱 诗班可爱的小朋友及乐队的精彩表演。此外，酒店为当晚抽 奖环节最幸运的嘉宾奉上了终极惊喜——德国杜塞尔多夫施 泰根博阁酒店免费房券及由德国汉莎航空提供的双人往返杜 塞尔多夫的机票。 On November 30th, Hotel Maximilian held a successful grand

opening ceremony, which was witnessed by many important guests,

company clients and famous media. The most unforgettable moment

was when the high echelons from the owner-Jilin Huayang Group and

management group-Steigenberger Hotel Group cut the ribbon and toasted together for the grand opening of the hotel. The Hotel General

Manager Mr. Peter Schaumburg presented a special award to the first

guest in the hotel-Mr. Frank Stadus who is the General Manager of

Deutsche Bahn Grand China. German-style food and Paulaner beer were served and the choir and band’s live performances was another highlight. What’s more, the hotel provided the man who won the first prize in a lucky draw with vouchers of Steigenberger Parkhotel Duesseldorf and air tickets for two to Duesseldorf with Lufthansa.

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活动

events

百年施坦威 十年中国梦 ——施坦威中国十周年庆典音乐会荣耀上演 11 月 29 日，“百年施坦威 十年中国梦 -- 施坦威中国十周年庆典音乐会”在北京 国家大剧院荣耀上演。作为今年施坦威中国十周年系列庆典活动的收官之作，音乐会 一票难求，偌大的音乐厅座无虚席。国际钢琴巨星、联合国和平大使、施坦威艺术家 郎朗先生，世界著名钢琴教育家、演奏家、施坦威艺术家加里·格拉夫曼教授（professor gary graffman），维也纳爱乐乐团弦乐四重奏，中央音乐学院少年交响乐团，青年指 挥家俞潞先生以及第六届施坦威全国青少年钢琴比赛专业组特等奖获得者吴君麟等中 外艺术家为在场嘉宾奉献了一场极具观赏性与艺术价值的饕餮盛宴。1600 余位中外贵 宾齐聚现场，共同欣赏艺术家们的精彩演绎。 19 世纪 70 年代施坦威的鼎力之作“瓦格纳钢琴”、施坦威历 史上第一架三角钢琴“一号钢琴”的复刻版、1884 年 制造的“施坦威方钢琴”，具有特别纪念意义的施 坦威中国十周年特别珍藏版钢琴之“中国一号”等 同台亮相。每一台演出用琴都承载着施坦威 161 年来卓越的制琴工艺，舞台上，古董钢琴和现代 钢琴珠璧交辉，犹如时光穿越，完美呈现 “百年 施坦威 十年中国梦”这一主题。历经百年之后，施 坦威钢琴的音色历久弥新，依然保持着无以伦比的品质， 依旧能够作为演出用琴登上舞台，为在场嘉宾传递着独 一无二的天籁之音。

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We provide a direct mailing service for high-end subscribers, comprising China-based international expatriates, management executives and the business elite. 同时本刊在高端期刊销售渠道及重点区域报亭均有销售。读者也可通过电话 85890129-104 订阅本刊。 Our magazine also retails through high-level distribution channels and newsstands in selected areas, as well as by reader subscription (dial 85890129-104).

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fabulous

餐桌上的钻石

Fancy Fungus 松露是一种蕈类，常长在松树、栎树或橡树下，而意大利白松

A record-setting 4.16-pound white truffle has sold for $61,250 at

露菌则是全球最令人垂涎的稀有食品配料之一，有“餐桌上的钻石”

Sotheby’s New York. Sotheby’s says the fungus was sold Saturday to a

之称。12 月 6 日 , 纽约苏富比拍卖行举行世界最大白松露菌拍卖会，

food and wine lover from Taiwan bidding by phone.

重达 4.16 磅的白松露菌以 6.125 万美元被来自台湾的电话竞拍者拍 得，而之前的纪录是由另一块重 2.5 磅的白松露创造的。

The truffle was found in Umbria, Italy, by Sabatino Truffles. The firm had said it turned down million-dollar offers from buyers in China.

这块巨大白松露是全球最古老松露供应商之一的 Sabatino

Instead, it chose to auction the truffle in New York to benefit Citymeals-

truffles 在意大利中部的翁布里亚挖出的。据称，曾有中国买家欲

on-Wheels and the Children’s Glaucoma Foundation. Sabatino Truffles

以百万美金收购，却遭到了拒绝。发现者更希望能以拍卖形式售

spokeswoman Jane Walsh had said the truffle was slightly smaller than

出，再将收益拨捐给各个慈善团体，包括为有需要的老人提供粮食

an American football. She says the average white truffle that’s unearthed

援助的 Citymeals-on-Wheels 基金会以及致力于帮助青光眼患儿的

is about the size of a walnut. Sotheby’s says the previous largest white

Children’s glaucoma foundation 基金会。据 Sabatino truffles 发言人

truffle ever found was 2.5 pounds.

Jane Walsh 女士介绍，一般来说，普通白松露菌只有核桃那么大， 而这块巨型白松露却仅比橄榄球小一点，可见其珍贵难得。

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Christmas Adventures 人民币 40 元 CN41-1046/J 港币 50 元

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