熱點話題
HOT TOPIC 010 006... 霍普肖像：社會，工作室，街頭
Hoppé Portraits: Society, Studio
012...
and Street
008... 倫敦街頭攝影展
London Street Photography
010... 英國現代雕塑
Modern British Sculpture
倫敦設計博物館：時裝插畫展 Design Museum: DRAWING FASHION
014...
倫敦ROUGH TRADE 唱片店
London ROUGH TRADE Record Shop
016... 史上最佳英國電影
The Top Five Greatest British Movies Ever Made
008 020... 點擊你的時尚之旅
‘Click’ Your Fashion Experience
022... 時裝的錯覺
Fashion that deceives
024... 20｜21 國際藝術博覽會 －國際化的多樣性
20 | 21 International Art Fair: Cosmopolitan Diversity
固定專欄
EXCLUSIVE COLUMN 032 026... 《逃逸線》藝術展
040... 抉擇在生死之間
032... 幻境制造者－菲利普·帕雷諾
044... D&Ad 專欄 / 支柱－構建你的流程
A Line of Flight
Fantasy Maker － Philippe Parreno
Between Life and Death Pillars － Structuring of your Flow
CONTENTS
026 046... 广告：最有趣的事
Advertising: The Most Fun You Can Have
每期專題
SPECIAL FEATURE 058
050 050... 泰特現代美術館－人人為我 我為人人 Tate Modern: All for One and One for All
078...
開創為本－白教堂美術館
058... 巴比肯藝術中心－海納百川 有容乃大 Barbican Art Centre － Bringing All Kinds of
082...
象牙塔尖－英國皇家藝術學院
088...
九曲湖畔的明珠－蛇形畫廊
Art Forms under the One Roof
066... 南岸之星－海沃德畫廊 The Star of the Southbank 072... 英國國家藝廊：公眾的美術館 National Gallery: Gallery For All Public
The Whitechapel Gallery Royal Academy of Arts
Serpentine Gallery: The Pearl beside the Lake
Artgap Magazine ISSUE 03 2012 ISSN 7889-2357 Publisher / Editor-in-chief 出版人 / 主編 Harry Liu 劉競晨
Senior Editor 高級編輯
Gareth Rees, Justas Karciauskas, Ya Gao, Rui Han 韓瑞,
Mei Li 李梅, Fan Zhang 張凡, Jingwei Zhang 張靖威, Kunfang Zhao 趙坤芳 Tuanslator 翻譯
Yan Chen 陳言, Shoran Jiang 姜嘯然, Gwen Liao 廖偉苔, Siqi Lin 林嗣琦, Chang Yu 于暢 Design Director 設計總監
Ye Li 李燁, Xianghui Ye 葉向輝 Graphic Design 平面設計
Xiaodan Gao 高小丹, Joe Shi 石約瑟, Nan Wu 武楠, Qian Xu 徐茜, Lu Zhang 張璐 Marketing Director 市場總監 Ying He 何穎
Contributors 鳴謝
Anders, Anthony banks, Ellen, Jas, Katie Hill, Margarita Moner Lopez, Sajid Rizvi,
Guocheng Chen 陳國成, Yixin Chen 陳意心, Yu Chen 陳郁, Mengdan Cheng 程夢丹, Junxia Cui 崔君霞, Ning Duo 多寧, Peiyuan Jiang 姜培源, Dian Jin 金甸,
Jing Gao 高靜, Xiaohui Guo 郭小輝, Ying Li 李瑩, Bingqing Li 李冰清, Gwen Liao 廖偉苔, Eva Xie 謝丹, Jing Wang 王靜, Ke Xu 徐可, Xinyuan Xu 許心願, Bing Yan 嚴冰,
Shiyang Yang 楊時陽, Jingyi Yu 於靜儀, Bingbing Zhao 趙冰冰, Yuling Zhong 鐘玉玲 Co-operators 合作夥伴
D&Ad, Today Art Museum Beijing 北京今日美術館，Soho.com/Arts 搜狐藝術頻道，
Art China 新浪收藏頻道，Oriental Art Master《東方藝術 大家》， Art Value 《藝術當代》雜誌， Address 雜誌社地址
37 Camden High street, nw1 7je, London, UK
Website: www.artgap.org Email: info@artgap.org
EDITORIAL INFO
EDITOR’S LETTER 主編寄語
从二十世紀九十年代末期，随着中国市場的不断开放和社會財富的不断增長，民众在享受物質丰富的同時也激增了對精神消費的巨大 需求。伴随着中国当代藝術品价格的持續走高，近十数年来中国各大城市的美術館建設突飛猛進，由政府，企業，个人投資兴建的美 術館拔地而起，標志着当代藝術已經被越来越多的中国受众所接受。在這些美術館中，很多都是氣勢磅礴，投資巨大，其硬件水准已 达到或者超過了世界一流水平，不僅為中国的藝術愛好者提供了優良的藝術享受空間，而且很多都已經成為了所在城市的文化地標。 但在美術館這个“時髦玩意儿”的背后，撥开超一流硬件的外皮后，不難發現，這些美術館所承載的收藏，研究，教育等社会功能還不健 全，應具備的人文氛圍和独立个性還未成型。 對比英国的美術館来看，由于長時間的發展和理念繼承，美術館体系已經成為一个具有完善操作規範和行為準則的龐大有机体，以倫 敦為例，各个美術館有其不同的市場定位和學術目的，在国家各項法規的管理下，通過多重的資助方式来完善从收藏，研究到推广藝 術精神，傳播藝術理念的公共教育功能。 在這期雜志中，我們精心為各位看官挑選出比較有代表特色的中国和英国两地美術館，為大家介紹他們的不同特色，希望能起到拋 磚引玉的作用，為蒸蒸日上的中国美術館事業添磚加瓦的同時，也要不断探求美術館運營和發展的未来之路。
Since the end of 1990s, the continuous growing of the China market and social wealth has brought enjoyment in not
only basic material but also spiritual consumption. Along with the continuous rise of Chinese contemporary art prices,
the construction of art museums and galleries in big cities is surging ahead. Government, enterprise and individual invest in art museums, which marks that contemporary art has been accepted in a wider range. Many of these art museums are magnificent and huge investment is involved. The facilities have been reached or exceeded the world-class level. These
art museums provide Chinese art lovers enjoyable places to appreciate art and have become a cultural landmark in its city. However, in these art museum, a so-called fashionable stuff, behind their world-class facilities, it is not difficult to find that
the collections, researches, education and other social functions are not perfect in these art museums and the atmosphere and independent characteristic has not been formed yet.
In contrast, because of the long-term development and the concept of heritage, the system of art museums in the UK has already been a huge organism with perfect practices and rules. In London, as an example, different art museums have
their different market position and various academic targets. By the protection of the management of various regulations, there are also multiple ways of funding to improve the public educational function of collection, researches, promotion the spirits of arts and to convey artistic concepts.
In this issue, we carefully selected representative art museums and galleries from both China and the UK, presented their
different characteristics. Hopefully, these could open your mind, additionally, to contribute to art museums and galleries in China and explore the future of their operation and development.
Harry Liu 劉競晨
004/005
Hoppé Portraits: Society, Studio and Street 霍普肖像： 社會，工作室，街頭 WRITTEN 撰文 x HARRY 劉競晨 BY COURTESY OF 圖片提供 x
NATIONAL PORTRAIT GALLERY 倫敦肖像画廊
Margot Fonteyn, 1935
Ezra Pound, 1918
Assistance, Inc. / E.O.
Assistance, Inc. / E.O.
Ⓒ 2011 Curatorial
Hoppé Estate Collection
Ⓒ 2011 Curatorial
Hoppé Estate Collection
The missing link in British photography between Frederick Evans and those
contrasting moderns, Bill Brandt and Cecil Beaton（Mark Haworth-Booth, 2006） E.O. Hoppé is one of the most important photographers of the first half of the
目前在英國國家肖像畫廊展出的霍普肖像作品展覽吸 引了眾多的攝影愛好者。霍普（E.O. Hoppé）是20世紀 前頁最為重要的攝影藝術家，但是他大部分作品是在 最近才被重新發掘並梳理，讓更多的觀眾能 夠 認識這
twentieth century. Celebrated during his lifetime, much of Hoppés work has only
位被遺忘的攝影大師。
forgotten master.
此次展覽收錄了霍普150張肖像攝影作品，表現了其引
Featuring 150 works, the exhibition includes Hoppés strikingly modernist portraits
當廣泛，包括了從文學，政治，藝術世界中的重要人物，
recently been reassembled and this major survey will enable visitors to discover a
of society figures and important personalities from the worlds of literature, politics
and the arts, including George Bernard Shaw, Margot Fonteyn, Albert Einstein, Vita Sackville-West and members of the royal family.
These studio portraits will be shown alongside his fascinating photojournalist
人註目的現代主義風格肖像，其作品涉及的人物範疇相 如包括喬治蕭伯納（George Bernard Shaw），瑪戈芳婷 （Margot Fonteyn），愛因斯坦（Albert Einstein），維 塔薩克維爾西（Vita Sackville-West）和王室成員的重 要人物。
studies of everyday British people ranging from street musicians and circus
另外，展覽中也展出了他那些迷人的紀實攝影作品，記
life between the wars.
演者，公車司機到郵遞員的真實的日常生活。
performers to bus drivers and postmen, which capture the realities of day-to-day
The ‘Pearlies’, Master
William Dennis Simmons, London, 1922
Ⓒ 2011 Curatorial
Assistance, Inc. / E.O.
Hoppé Estate Collection
Tips
小貼示
E.O. Hoppé -- He may indeed claim to have made the camera sing （Westminster Gazette）
With a knack for conveying the personality of his sitters and an
unflinching eye for composition, he was among the most sought-after celebrity portraitists of his day, becoming as famous as the people he
photographed. This exhibition reveals previously unseen works and is the first to combine Hoppé’s extraordinary photographs of the famous with those he made outside the studio, in the street. 霍普：能讓照相機唱 歌的人 霍 普（1 8 7 8 - 1 9 7 2）是 2 0 世 紀 最 為 有 影 響 力 的 攝 影 師 之 一。憑 借 其 對 於 表 達 人 物 內 心 和 神 態 的 獨 特 能 力，他 成 為了當 時 最 被 推 崇 的 肖 像 攝 影 師，就 像 他 鏡 頭 中 的 人 物 一 樣 ，霍 普 也 成 為了 炙 手 可 熱 的 明 星 。此 次 展 出 的 很 多 作 品 都 是 第 一 次 與 公 眾 見 面，而且包括了很多非常罕見的在街頭而不是影棚內為名人拍攝的肖 像 作 品。
006/007
述了倫敦普通大眾人民，從街頭流浪音樂家，馬戲團表
London Street Photography 倫敦街頭攝影展
WRITTEN 撰文 x HARRY 劉競晨 BY COURTESY OF 圖片提供 x
MUSEUM OF LONDON 倫敦博物館
Street photographs are at the heart of our understanding of
如果想要了解最為鮮活的倫敦生活和發展歷史，那麼你一定不要錯過
element of chance - a fortunate encounter, a fleeting expression, a
方面展現了攝影藝術這百年來的發展歷程，而且也生動的記述了倫敦這
London as a diverse and dynamic city. They are characterised by an
當下正在倫敦博物館舉辦的倫敦街頭攝影藝術展。此次展出的作品一
momentary juxtaposition, capturing an ever-changing city.
一世紀以來的變化，由於作品選取的都是關於倫敦街頭每日生活的即
This major current exhibition at the Museum of London showcases
者是機緣巧合形成的美麗圖片為我們真實的還原了倫敦的街頭生活，
興攝影作品，展覽通過一個個定格的瞬間，一個個飛馳而過的掠影，或
an extraordinary collection of London street photography with over
描繪了一個充滿活力和文化多樣性且永遠變化之中的倫敦。
scenes of horse-drawn cabs taken on bulky tripod-mounted cameras
展覽匯集了57位攝影師的作品，一共有超過200張關於倫敦街頭生活
street photography has evolved from 1860 to the present day. It
術，攝影師以及倫敦人之間的微妙聯繫，更為 值 得關注的是此次展覽
and the people who live on them, and reflects on the place of
的街頭攝影項目應該說是無處不在的街頭監控攝像頭，這些藉以反恐
laws grow ever tighter.
未有的和街頭攝影這個主題緊密的聯合在一起。
200 candid images of everyday life in the street. From sepia-toned
to 21st century Londoners digitally ‘caught on film’, it explores how
的攝影作品，它們儼然構成了一部縮略版的攝影發展史，探討了攝影技
examines the relationship between photographers, London’s streets
深刻地反思了倫敦當下街頭攝影技術的應用現狀--目前倫敦最為知名
photography on London’s streets today as anti-terrorism and privacy
怖主義旗號而林立的高科技設備和民眾對於保護個人隱私的訴求前所
Work of Roger Mayne
Ⓒ Museum of London
Off Brick Lane, Suma 2010, London
Ⓒ Museum of London
Brick Lane, E1 1978.
Oxford Street, July 1998.
Ⓒ Museum of London
Ⓒ Museum of London
Paul Trevor
Tips
小貼示
Richard Bram
Key London Street Photographers >Paul Martin pioneered candid street photography in London when, in the early 1890s, he began using a camera disguised as a parcel to photograph people unawares.
>Roger Mayne sought to record a way of life as he photographed a rundown area of North Kensington before it was redeveloped in the 1960s. Mayne became a familiar figure as he hung around the streets, camera at the ready.
>John Thomson produced a ground-breaking survey of London’s poor with the publication of Street Life in London in 1877.
>Henry Grant was a freelance photojournalist with a profound interest in the everyday lives of ordinary peoples. He photographed London’s changing streets from the 1950s to the 1980s. 主要參展攝影師 > 保羅馬丁 ( Paul M ar tin): 正直的先鋒倫敦街頭攝影藝術家，早在 1 8 90 年 代 初 期，他 就 開 始 運 用 偽 裝 成 箱包的照相機來捕捉倫敦街頭那些毫無察覺的人們的生活。 > 羅杰梅恩 ( Rog e r Mayne): 他用相機記錄了1960年改造以前破敗 的 倫 敦 北 肯 辛 頓 地 區 的 生 活 面 貌。 > 約翰湯姆森（Joh n Thomson）: 1877年開創性的發表了關於倫敦 貧 窮 階 級 的 調 查 。 > 亨利格蘭特（He n ry
Gr ant） ：他作為一個自由攝影記者深度關注倫 敦 普 通 人 的日常 生 活。他 的 作 品 記
錄了1 9 5 0 年到1 9 8 0 年 之間的倫敦街頭的變化。
008/009
Modern British Sculpture 英國現代雕塑
WRITTEN 撰文 x HARRY 劉競晨 BY COURTESY OF 圖片提供 x
ROYAL ACADEMY OF ARTS 英國皇家藝術學院
The Royal Academy of Arts presents the first exhibition for 30 years to examine British sculpture of the twentieth century. The show represents a unique view of the development of
British sculpture, exploring what we mean by the terms British
and sculpture by bringing the two together in a chronological series of strongly themed galleries, each making its own visual argument.
The exhibition takes a fresh approach, replacing the traditional survey with a provocative set of juxtapositions that challenges
the viewer to make new connections and break the mould of old conceptions.
Key British works include: Alfred Gilbert’s Queen Victoria, Phillip
King’s Genghis Khan, Jacob Epstein’s Adam, Barbara Hepworth’s Single Form, Leon Underwood’s Totem to the Artist, Henry
Moore’s Festival Figure, Anthony Caro’s Early One Morning,
Richard Long’s Chalk Line, Julian Opie’s W and Damien Hirst’s Let’s Eat Outdoors Today.
Through these and other works, the exhibition examines British sculpture’s dialogue within a broader international context,
highlighting the ways in which Britain’s links with its Empire,
continental Europe and the United States have helped shape an
art that at its best is truly international in scope and significance. The exhibition provides a view onto this period of modern British sculpture without attempting to be comprehensive or definitive in its treatment of the subject. As such, it represents a point of
view about the work of the period and seeks to highlight certain ways of looking at sculpture by thinking about its relationship with the wider world.
HOT TOPIC
此次在英國皇家藝術學院展出的《英國當代雕塑展》是30年來首次針 對英國當代雕塑研究的展覽。展覽從特有的角度闡述了從20世紀初至 Barbara Hepworth Pelagos, 1946
Part-painted wood and
今英國雕塑的發展歷程，按照時間發展的順序梳理了英國當代雕塑的 發展特色展覽突破了固有的展覽敘述模式，將作品通過並列對比的形 式來展現作品之間的風格差異和內在聯系，為觀眾建立一個全新的視
strings, 43x46x38.5 cm
角去理解不同作品之間的關系。
artist, 1964
展出中包括了很多英國當代著名雕塑家的作品如阿爾弗雷德吉爾伯
Tate. Presented by the Photo Ⓒ Tate, London 2010
Ⓒ Bowness, Hepworth Estate
特（Alfred Gilbert）的維多利亞女王（Queen Victoria）；飛利浦金 （Phillip
King）的成吉思汗（Genghis
Khan）和亨利摩爾（Henry
Moore）的節日（Festival Figure）。展覽選取的作品來自全球各地， 展示了英國藝術對於全球各不同文化的關註與反饋，反映了其對國際 當代藝術做出的重要貢獻。 從策展意圖上來說，此次展覽的目的是探討從更為宏觀的角度來思考 藝術的發展規律。此次展覽從國際化的視野出發，重新審視了英國雕 塑藝術這百年來的發展全貌，反思了英國在這百年間不斷變化的國際 身份與地位對其雕塑藝術產生的相互作用。
Design Museum: Drawing Fashion 倫敦設計博物館： 時裝插畫展
WRITTEN 撰文 x HARRY 劉競晨 BY COURTESY OF 圖片提供 x
DESIGN MUSEUM 倫敦設計博物館
Timothy Davey
Drawing-Fashion
Ⓒ Design Museum
Antonio
Joanne Landis Carnegie Hall Studio
New York Times Magazine, 1967
Ⓒ Design Museum
Drawing Fashion celebrates a unique collection of some of the
此次在倫敦設計博物館展出的時裝插畫作品展收錄了近幾十年間眾多傑
Centuries. These original illustrations reflect not only the spirit
和風格變換，而且彰顯出時尚的魅力以及其優美高雅的本質。許多知名時
most remarkable fashion illustrations from the 20th and 21st
and style of the decades, but also evoke a sense of elegance and glamour long associated with the world of couture and high
fashion. Drawings from the collections of Chanel, Dior, Comme
des Garcons, Poiret, Lacroix, McQueen and Viktor & Rolf amongst
出的插畫作品，參展的這些插畫原稿不僅僅體現了時裝設計的靈感來源 裝品牌為此次展覽拿出了他們珍藏的設計原稿，如夏奈爾（Chanel）、迪奧 （Dior）、川久保玲（Comme des Garcons）、麥克奎恩（McQueen）等品 牌都在展覽中擁有專門的展示單元。
others, featured in the exhibition, which charted the changing
時裝插畫最初的功能是作為一種廣告手段，後來隨著時裝攝影的出現，其
tool used prior to the advancements of photography, through to its
和藝術感染力卻一直被設計師們所推崇，至今時裝插畫已經成為了時尚產
perception of fashion drawings from its origins as an advertising
establishment as a unique representation of collections which has endured through to today’s leading designers.
The exhibition showcased the creativity and skills of a unique artistic approach, celebrating the art and artists of fashion
illustration whose exquisite images gave each collection an
emotive and stylistic sense of direction. The drawings reflect
the spirit of the time, through Art Nouveau, Art Deco, Pop Art
本來的功能已經失去了實際的存在意義，但是時裝插畫其獨特的表現形式 業鏈中不可或缺的一個部分。 此次展覽展現了插畫藝術家們如何用獨特的創意和技巧將情感和激情註 入到時裝當中去，同時也反應了不同時期的藝術風格對時裝插畫的深刻影 響。展覽策展人之一，著名時裝歷史學家科林馬克道爾（Colin McDowell） 將很多難得一見的歷史資料及重要藝術家的顛峰之作匯集起來，以便觀眾 可以從更廣泛的社會文化變遷的視角來了解時裝插畫的變遷。
and beyond with each era resonating with flare and style. This exhibition, guest curated by fashion historian and writer Colin McDowell, celebrates key artists at the height of their careers:
Lepape at the beginning of the century, Gruau the 40s and 50s,
Antonio throughout the 60s, 70s and 80s, to current artists Aurore de la Morinerie, Mats Gustafson and Francois Berthoud. Film-clips
Design Museum London
and rare magazine covers sat alongside the original illustrations, allowing the visitor to reflect on the wider social and cultural
changes of the century. Films of the artists at work were displayed alongside examples and projections of the couture clothes shown in the illustrations.
This collection, regarded as one of the most exceptional collections of fashion illustration in the world, has been put together over
30 years by Joelle Chariau, one of the very few experts on fashion drawings. This was first time the collection was displayed.
012/013
Francois
Loves me Loves me Not Myla
UK 2001/1
Ⓒ Design Museum
London Rough Trade Record Shop 倫敦Rough Trade唱片店 WRITTEN 撰文 x QIAN XU 徐茜
PHOTOGRAPHY 攝影 x MEI LI 李梅
In London, music plays an important role in people’s lives, and they
英國是朋克音樂的起源地。在倫敦，音樂是人們的生活中重要的一部
kinds of recodes shops: one is the chain store such as HMV; the
種，一種是大規模的連鎖店，像HMV等；另外一種是當地的小型唱片店
go to gigs, or spend their time in record shops. Here, there are two others are small local record shops and some second-hand music shops. ROUGHT TRADE is an independent record shop based in London, and is well loved by many Londoners.
ROUGHT TRADE has two shops: one is on Brick Lane; another is in
Notting Hill. Everyday, millions of music fans enjoy their whole day
there, researching different records, listening to indie music. You can
find many underground independent bands in the sstore, from punk to heavy metal.
分，人們喜歡沒事就看看演出，逛逛唱片店。在國外唱片店一般分兩 以及二手唱片店。ROUGHT TRADE 就是倫敦人最喜歡的一家獨立唱 片店。 ROUGHT TRADE 在倫敦有兩家店。一家在倫敦東區朋克嬉皮匯集的 Brick Lane；另外一家在著名的Notting Hill附近。每天都可以看到有無 數忠誠的音樂發燒友們泡在ROUGHT TRADE裏翻找著一張張唱片和 CD。ROUGHT TRADE 專門出售各類型的獨立音樂，朋克、搖滾樂、hip pop或是heavy metal，甚至很多市面上罕見的獨立音樂品牌都能在這 找到。
Inside view of Rough Trade record shop
倫 敦 Rough Trade唱片 店 内景
Outside view of Rough Trade record shop
倫 敦 Rough Trade唱片 店 外景
The first ROUGHT TRADE shop was opened in 1979 in west
ROUGHT TRADE 最早是1976年在西倫敦創立的一家獨立唱片店。那時正
TRADE Records, which was welcomed by many indie bands at
出唱片的小樂隊發行他們的唱片。於是2年後其兩家門店催生了創記錄的
London. Two years later, the shop spawned the famous ROUGHT that time. ROUGHT TRADE is not only a record shop, but also
promotes punk music, as well as many indie bands, such as the Smiths, The Strokes, and The Libertines.
Nowadays, many records shops face the difficulty of survival from the stress of on-line music. The shopkeeper of ROUGHT TRADE
是朋克音樂開始大受歡迎的時候，ROUGHT TRADE 開始幫一眾想要自己 獨立唱片公司Rough Trade Records，受到很多獨立音樂制作者的喜愛歡 迎。ROUGHT TRADE 不僅僅是一家唱片店，它是當年朋克運動的發祥聖 地，也是獨立的音樂場牌，簽藝人，出唱片。有很多有名的地下樂隊都是被 他們發現的，像是The Smiths, The Strokes, The Libertines等。Suede的主 唱Bertt在倫敦的家就在ROUGHT TRADE 在諾丁山分店的對面。
thinks that the reason of people still go to record shops is that
現在很多唱片店都面臨倒閉的危機。ROUGHT
day with the records around them, lost in the music world.
以光臨唱片店是為了要一種體驗，在唱片店裏他們可以呆上一整天，迷失在
they’re looking for a kind of experience, they spent their whole
“Each of our employees are huge music fans, no matter it they
TRADE
的店主Spencer
Hickman表示能通過競爭生存下來的唱片店能做得更好，他認為人們之所 唱片的海洋裏。
like electronic music or folk songs, they all love their job. They
“我的每一個員工，不管他們喜歡電子音樂還是金屬還是民謠，都十分熱愛
is more, they love to share their fervour with our customers.”
們希望與顧客一起分享這種激情。”
work here not for the money, but for the passion of music. What
自己的工作，他們在這裏工作並不是為了掙錢，而是出於對音樂的激情，他
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The Top Five Greatest British Movies Ever Made 史上最佳英國電影
WRITTEN 撰文 x QIAN XU 徐茜
This February <Time Out> launched a new project: “The 100 Best British Films”,
2011年2月，《TimeOut》倫敦版做了一個“史上最佳
producers, actors and journalists. They recommended 100 movies that they think
員、制片、影評人等150名電影業內人士，選出他們認
which invited 150 contributors from the film industry, including director, are the best, and also list their top ten best British Films.
Nicolas Roeg’s Venice thriller ‘Don’t Look Now’ was most popular, rising eight
100部英國電影”的評選活動。邀請了包括導演、演 為最值得推薦的100部英國電影，同時也請每個人列出 了各自心中的 Top 10名單。
places from its position in a similar poll conducted by the BFI in 1999. Interestingly,
英國電影一直都有自己獨特的風格魅力。有人喜歡它
and Terence Davies’s ‘Distant Voices, Still Lives’. Different people have different top
歡其情感表達的克制。每個人都有自己心中的英國電
the only films post-1970 that make our top ten are Danny Boyle’s ‘Trainspotting’
10 lists in their eyes. Let’s have a look at these best films which been chosen, do they have the same favorites as yours, and are there any movies you missed?
的黑色幽默，有人喜歡電影裏對人性的洞察，有人喜 影Top 10排名，來看看這次評選出來的最佳電影裏有 沒有你心中的名單或者被你錯過了的好電影？
Number 1 Don’t Look Now The story of a couple, played by Julie Christie and Donald
Sutherland, who decamp to a spooky Venice after the death by drowning of their daughter. We can speculate on the roots of its popularity: that it satisfies the genre and arthouse crowds;
that it uses framing, sound, editing and camera movement to
unreel a transfixing tale and flesh out excruciatingly authentic characters; that it dares to coax out the ghosts lurking in
every watery passageway in Venice, Europe’s most ornate and
singular city; that it contains arguably the greatest sex scene on film.
第一名 威尼斯疑魂 這部70年代的懸疑驚悚片，擁有精彩的劇情和獨特的敘事手法。點到即止 的暗示讓整不電影充滿奇特的吸引力。故事發生在水城威尼斯，鏡頭下的 拱橋、建築等場景都充滿了恐怖和緊張的氣氛。
Number 2 The Third Man This movie is a masterpiece. The genius at
the core of this superlative, bible-black Euro noir is the way it teases you in to thinking
that you’re watching a disposable pulp yarn
about an honest schlub who touches down in a crumbling, post-war Vienna and won’t rest until he uncovers a conspiracy concerning
the death of an old pal. Also, inventive and exhilarating though the story is, its beauty
lies in its flawlessly judged and occasionally eccentric construction.
第二名 第三人 這部1949年的電影出現在歷往的很多次英國最佳電影評 選名單中。講述男主角調 查好友死亡真相的故事。除了緊 湊的電影情節，電影裏最突出的還有經典的鏡頭和剪輯， 以及黑白電影中對光影的完美對比運用。
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Number 3 Distant Voices, Still Lives Too often it’s assumed that there’s an arthouse cabal in British cinema obsessed solely with telling stories of the working
classes from a distant perspective and with a drab realism – or, to borrow the moaners’ own word, ‘miserabilism’. Certainly, there are guilty culprits, but if any filmmaker blows such
assumptions out of the water, it’s Terence Davies, whose
‘Distant Voices, Still Lives’ is arguably among the very greatest
British films of the last 25 years – a judgement our poll seems to confirm.
第三名 遠方的聲音 這是導演特倫斯·戴維斯（Terence Davies)典雅的藝術傑作，一部能體現出 鮮明的英國風格的影片。劇情圍繞在二戰結束後不久， 一個利物浦的工人 階級家庭的一樁婚事展開。這部電影的魅力由那些具有深刻藝術性的鏡頭 構成，並結合了導演本身和演員對角色的把握，特別是精彩地演繹了父親 這一角色的皮特·波斯爾思韋特。
Number 4 Kes ‘Kes’ is, if nothing else, a powerfully honest piece of work, in its
performances and relationships, its
treatment of trapped lives, its sad-eyed acceptance of human failings. It’s trite
but true to say that Billy Casper stands
for the crushed child in all of us, with his beloved kestrel as the soaring soul that
school, work, family and society conspire to kill quietly in the woodshed.
第四名 凱斯 這是一部非常現實的成長電影。描寫了一個英 國普通小鎮的小男孩，生活在支離破碎的家庭 中，偷馴幼鷹，想尋找自己自由天地的故事。這 部樸實無華的電影曾獲得許多電影獎項，被公 認為60年代以來最重要的英國電影，導演用簡 單的故事去表現當時正處在時代變革中的英國 人，普遍的迷茫和“工業孤獨”。
Number 5 The Red Shoes
第五名 紅菱艷
This is an intreseting old story with freshness and vigour.
這是一部源自安徒生童話《紅鞋》的老電影。
peak of Powell’s visionary tendency as a director, a flawless
業的沖突。“你為什麽跳芭蕾？”女主角則反
Revelling in unabashed emotional excess, this is a the absolute blend of cinema and dance, animation and music, narrative rigour and experimental freedom. Without doubt the most
breathtakingly beautiful film ever to come out of these isles.
女主角是愛舞如命的人，但陷入了愛情與事 問，“你為什麽活著？”有人說最近熱門的《黑 天鵝》就是向這部電影的致敬。另外，電影裏 的豐富的色彩布景也是一大看點。
Click Your Fashion Experience 點擊你的時尚之旅
WRITTEN 撰文 x XINYUAN XU 許心願
There are now bundles of ways people can buy their fashion items. In the past decade,
眼觀當下 ，就購買時尚產品而言，人們可采取的購物途
online, and even through using mobile devices.
統的實體店購物，逐漸轉向到網上購物，再到掌上購
people’s shopping patterns have shifted from visiting physical stores，to shopping
No doubt that this is all attributed to the fast pace of technology development.
徑在不經意間已經變得非常豐富。十年之間，人們從傳 物。。。
Information technology has created an ever-authentic virtual shopping heaven which
當然, 科技的發展是這一變遷的前提。網絡信息的發展
was occurred in individual’s lifestyles. People tend to be more likely to communicate
間, 人們生活的方式發生了巨大的轉變。外出社交似乎
makes people feel seamlessly involved and connected. Besides, a significant transition with the world through ‘screens’ rather than actually having to be face-to-face.
Interestingly, since the world suffered painfully from the economic downturn, the trend of shopping online erupted throughout the world especially in Europe and America,
which has boosted businesses of third-party hauliers overnight, with millions of cartons awaiting to distribution.
There are great deals of e-players who spotted the chance years ago and became
extremely successful recently. Net-a-porter became the must-have link in European women’s favorite lists. Farfetch became very well-known for its great offers from
thousand boutiques across the Europe. In UK, every fashion lover must have bought some items from ASOS, for its broad offers and top-level services. However, as the
growth of e-commerce tends to become subdued, it is no longer just the speed and convenience which keep customers, but the multi-dimensional experience people
want to have in brick and mortar shops. Therefore, different types of fashion businesses start to explore more opportunities through multi-channel operations by digging into consumer psychology and enhancing the creativity of virtual technology. It seems
that luxury players are more likely to adopt information technology to support their
marketing strategies. Brands like Burberry and Ralph Lauran do not mind making very heavy investments to create their stereo-cyberspaces.
Federico Marchetti – CEO of the Yoox Group(The global internet retailing partner
for leading fashion & design brands, partners include Jil Sander, Dolce & Gabbana
and Marni) – described the brand’s transactional website as a ‘digital mirror’ of the
brand itself, which means businesses should work hard to achieve the authenticity
of physical shopping through their virtual services. Some brands have been making
big breakthroughs over the years and are very innovative in terms of exploring digital marketing methods. Burberry introduces the so-called ‘interactive catalog’ for their
most recent collection on the brand website. The catalog presents motion responsive
讓人們與虛擬的時尚購物環境親密無間。此外，10年之 不再是人們的主要業余生活，取而代之，人們更喜歡與 電子屏幕“交流”。既經濟危機之後，電子購物的趨勢一 下迸發，物流公司也仿佛一夜之間空降了數以百萬計的 包裹。。。 在 歐 洲 有白 領 女 性 們 忙 裏 偷 閑 最 愛 瀏 覽 的 N e t - a porter,
還有小眾時尚追寵者的最愛——Farfetch。在
英國還有最親民的時尚網站asos。
然而，在網購行業
豐富成熟之時，消費者網購習慣養成之際，消費者們註 重的不再只是操作的快捷性，更是傳統消費過程的全 方位體驗。不同類型的時尚零售企業爭相抓住此契機， 通過對消費心理的深層挖掘，與對網絡和信息技術的 開發和創新試圖完善營銷渠道。特別是一些始終走在 時代尖端的奢侈品牌，例如Burberry和Ralph Lauren， 不惜投入巨額投資開拓讓消費者垂涎的立體網絡數字 世界。 Yoox集團(來自意大利的高端時尚品牌互聯網零售夥 伴，運營包括Jil Sander, Dolce & Gabbana, Marni等品 牌網絡旗艦店)
的Federico
Marchetti總裁精辟地形
容：“時裝品牌的網絡商店就是自己的一面‘電子鏡子’”。 因此，網絡商店要盡可能達到傳統購物體驗的真實性。 一些品牌在追求真實感上的創新具有很大突破性，例如 Burberry在網站上為這個季度的熱點產品引入的“互動 性產品手冊”。瀏覽者可就一見單品瀏覽它的多角度動 態和細節，以便更深入感受面料的材質，而不僅是單一 地憑借一張照片做購買決定。英國時尚網站asos花重 金組建團隊，專門為每一件產品錄制模特走秀，這是其
images and videos that can be clicked, zoomed and rotated, which allows browsers
他任何一家時尚企業在電子開發方面沒有達到的。一直
great investments to build up a team in the house to produce video catwalk shows for
履行了日本文化中對科技創新的一絲不苟，錄制了多個
to experience product details at a further level. The British home brand ASOS made
almost every single product. The British and Japanese co-owned fashion boutique OkiNi has always been working in parallel with the Japanese culture of being technologyled. The ongoing project ‘STYLED’ consists of many sophisticated video lookbooks
which present not only the innovative styles Oki-Ni embraces, but also the brand’s ethos of thinking forward.
Since 3G service has broadly covered the world and iphone, ipad and Google android
have become widely used, fashion businesses have found another channel to sell their
products. Following the direction of Christopher Bailey, Burberry initially introduced the concept of ‘retail theatre’, which created a great buzz during the spring/summer 2011 fashion weeks. The label enabled customers to watch the live simultaneous virtual
shows in some of the flagships across the globe and allowed customers to receive orders from the show in seven weeks. ‘From runaway to reality’ was introduced by
Burberry and is going to be their sustainable strategy. Apart from that, Rugby adopts the technology in their iphone app that allows users to create their own avatar that
could try the Rugby collection and users could share the looks on facebook and twitter.
This clever app help the brand attracts more potential customers. According to experts, m-commerce increase interaction between brands and customers 85%, due to its personal service, convenience and variety.
以尖端、新潮著稱的英國日本聯合時尚品牌Oki-ni更是 精致的視頻來介紹產品的混搭，充分體現了品牌在風格 上的追求 － 閑適卻不失嚴謹。 隨著3G網絡的廣泛覆蓋，以及尖端移動產品iphone, ipad和Google
android的問世與普及，時尚企業又有
了大 好機會開發 新的銷 售渠 道 。2010年九 月的時 裝 周上，Burberry推出了retail Christopher
theatre，使得時尚產業對
bailey帶領的創意團隊的創新能力驚呼
不已。Burberry和Veriton跨界打造的retail
theatre使
得品牌在全球25家旗艦店內同步直播服裝秀，被邀嘉 賓可立即通過店內的ipad搜索服裝秀新品並下單，並 被保證在7周之內收到單品。’From runaway to reality’ 的理念被Burberry首先提出，並將持續發展下去。
在
Ralph lauren旗下的Rugby iphone程序中，顧客可以用 頭像合成自己的模特並穿搭擁有自己風格的產品分享 到Facebook和其他社交網站，這一舉動更是幫助品牌 創造了更多客戶。有專家指出，移動程序平均為時尚零 售企業增加了85％的互動頻率，因為移動商務提供的體 驗和服務更加貼身、便捷及多樣化。
Burberry Retail Theatre
In 2010, in order to demonstrate the brand’s 10 years dedication to digital innovation,
2010年，Ralph Lauren通過4D超現實投影技術，在倫敦
Avenue in New York and the one on New Bond Street – into real world canvases
比的壯觀熒幕，使來往行人嘆為觀止。視頻展現了模特
Ralph Lauren turned their two biggest flagship stores – the one on 888 Madison
for a 4D Progection, which shocked many pedestrians and the press. This epic also proves that technology has pushed the fashion industry to a new peak. From the
business point of view, the return on technology investment is very impressive for
Burberry, whose digital sales climbed 50% every year. However, speaking objectively, e-commerce strategies are supported by huge financial investment and a creative
team of elites from different backgrounds. Besides, the return is hard to measure and in some cases not obvious at all. Sometimes the result is just a short-term press buzz. Therefore, fashion businesses at the middle level such as high street retailers need to
enhance their multichannel operations in ways that need smaller investments and get quicker returns. These ways still wait to be explored.
020/021
新邦德街和紐約麥迪遜大道的旗艦店外呈現了無與倫 走秀，品牌的文化歷史以及經典產品，慶祝了10年來品 牌在電子信息技術上的不斷革新。然而就投資角度來 講，Burberry在開拓電子營銷上的回報非常可觀，品牌 的電子銷售額以50%的幅度逐年遞增。但是客觀來說， 開發電子營銷策略不但要有豐厚的資金，完善的團隊以 及頂尖的創意做基礎，實際對應的回報也難以估測，甚 至可能不那麽明顯。有時，這些舉動只為企業征來了短 暫的媒體報導。因此對於中檔品牌來說，他們要采用相 對投資小回報快的方式來完善品牌的多渠道營銷，這為 未來的電子創新指引了新方向。
Fashion that deceives 時裝的錯覺
WRITTEN 撰文 x GIULIA PICCIONI
PHOTOGRAPHY 攝影 x MEI LI 李梅
Dresses that pretend to be other garments, other objects.
Fabrics that lie. Prints that look three dimensional but are flat.
Bodies that are skewed and warped by their enclosing garments. Garment shapes that defy their own laws. Clothing that does not seem real.
禮服，假裝他們是它樣的服裝，它樣的物種 織物的謊言，三維的印染，平面的展現 身體被封閉扭曲的服裝包裹著 服裝的形狀挑戰著他們的法束 衣服，看起來並不真實
Exhibition display of
‘ Look Twice’
《 看了又 看》展 覽 現 場
Fashion fits between reality and illusion: reassuringly tangible one moment and
時尚，適合現實和幻想：一會兒真實可靠，而一會兒
use of shape, trompe l’oeil and optical prints, allowing the discovery of an alternative
過對於外形的掌控，視覺陷阱和光學印染來創造，
evading our expectations the next. Fantastical garments can be created through the
version of reality. The opportunity to question perceptions of fashion and the fashioned body has led a new generation of designers to experiment with illusion and visual manipulation.
卻又與我們的預期相去甚遠。幻想中的衣服可以通 使得我們可以通過這些發現現實的另一個版本。 對於時尚的質疑引導新一代的設計師在幻象和視 覺處理做出大膽的試驗。
R.L. Gregory, a distinguished scholar of visual perception and illusion, has broken optical
卓越的視覺感受和幻象學者 R·L·格雷戈裏將光學幻
explore these categories, both through the objects on show and through the displays
過展示的對象和展示方式來發掘這些類別，並且通
illusions into four types: ambiguity, distortion, paradox and fiction. The exhibition will themselves, which will use optical illusions to navigate the deceptions, tricks and manipulations that clothing plays out with our bodies as conspirators.
覺分為四種：模糊、失真、矛盾和虛構。這個展覽通 過光學的幻象來駕馭這些圈套、詭計和被操縱的 衣服，這些衣服如同謀般扮演了我們的身體。
The exhibition will be a platform for emerging British talents and their explorations into
該展覽是一個融入英國人才以及他們的探索服裝
St Martins College of Arts and Design, London College of Fashion and Edinburgh
院、倫敦時裝學院及愛丁堡藝術學院畢業生的設計
the illusory nature of dress. By presenting work from fashion graduates from Central College of Art who explore visual distortions and contradictions in their work, this
exhibition will not only look at how we view fashion, but how we can be tricked by
it. Inspired by the dialogue between fashion and optical illusion, the objects on show will be displayed in ways that support the audience in interrogating what they see, discovering our curatorial deceptions and the gaps in their own perception. This
contradiction, created by contrasting what the viewer expects to see with what they actually see, will encourage curiosity, increasing the enjoyment of the visitor and satisfying the need for unusual experiences, inherent within us all.
的虛幻本質的平臺。通過展示聖馬丁藝術設計學 作品，這些作品展示了他們發掘視覺扭曲和矛盾， 而我們又是如何被它們欺騙了。由於收到時尚和光 學幻覺的過界對話，展覽中的主體以一種支持觀眾 的質詢所親見的方式展出，發掘我們策展的圈套和 觀眾洞察力的差距。這種矛盾，由觀者期待所見與 真實所見的對比產生，同時，這種矛盾也激勵了大 家的好奇心，增加了觀眾享受感，也滿足了的那些 對於天生固有的不尋常的經歷的需求。
As curators of dress it is important that we recognise the multiple and contradictory
作為服裝的策展人，我們意識到那些服裝的一針
Fashion Curation at London College of Fashion is the only fashion specific curatorial
敦時裝學院的時尚策展碩士專業是世界上唯一的
messages that can be encoded within garments, in their very seams and surfaces. MA course in the world. The course offers a unique opportunity to investigate and develop the specialist practice-based, critical and interpretative skills involved within the discipline of fashion curation.
022/023
一線所傳達出的多重和矛盾的信息是很重要的。倫 專業時尚策展課程。這個課程提供了獨特的機會來 研究和發展專業的、以實踐為基礎的、有判斷力的 的、時尚涉及的解碼技巧。
20|21 International Art Fair: Cosmopolitan Diversity 20|21國際藝術博覽會 國際化的多樣性
WRITTEN 撰文 x HARRY 劉競晨
PHOTOGRAPHER 攝影 x HARRY 劉競晨 BY COURTESY OF 圖片提供 x KINGS ROAD GALLERY
The 20|21 International Art Fair took place at the Royal College of Art, London,
為期四天的20｜21國際藝術博覽會於2011年二月在倫敦皇
the UK but also features a significant number of dealers who specialise in works
藝術，參展的多為專營中國、印度、日本、俄羅斯、波蘭等
from 17 - 20 February 2011. The fair exhibits modern and contemporary art from from China, India, Japan, Russia and Poland.
家藝術學院落下帷幕。這個藝術博覽會著眼於現代和當代 地藝術家作品的畫廊。
The artwork on show included masters like Matisse, Miró, Picasso and Chagall
除此之外，其他國家的藝術品也同樣展出，比如馬蒂斯、米
British 20th century favourites such as Henry Moore and a large number of
20世紀最受歡迎的藝術家比如亨利· 摩爾，還有更多的新
(all works on paper), as well as contemporary urban art from the United States, emerging artists.
羅、畢加索、夏加爾，再比如來自美國的城市藝術和英國 興的藝術家的作品也在此展出。
The fair, now in its fifth year, has grown in terms of demand for stands, exhibition
此次第五屆20｜21
shown that the UK society is more cosmopolitan than ever. This is reflected in
品的價格區間也更為開闊。最近的調察研究表明，當今的
space, number of art dealers involved and the variety of art. Recent research has today’s art scene in general, and in the 20|21 International Art Fair in particular. Among the exhibiting galleries, Art Chinese and Kings Road Gallery deserve
particular mentioning, as they showed unique and vibrant artworks from China, which attracted a wide audience.
Shoran Jiang, whose works were shown by Art Chinese, has received critical
國際藝術博覽會展出的場地較之以往
更大，參展畫廊數量更多，參展藝術品形式更為多樣，藝術 英國社會比以往更加國際化，而這種多樣性也反映在如今 的藝術市場上，在20｜21 國際藝術博覽會，尤其如此。 在眾多的參展畫廊中最應該提及的是藝術中國畫廊和國 王路畫廊，這兩個畫廊都展示了自己獨據特色的中國藝術 家的作品，使觀眾眼前為之一亮。
attention with a series of recent exhibitions that take on controversial themes,
藝術中國帶來了年輕的中國女藝術家姜嘯然的作品。她的
women in paintings on semi transparent silk.
的決定權、兩性關係，在半透明的絲綢上展現了特殊的深
such as life and death, control over life, and the relationship between men and
The Kings Road Gallery featured a so called “Terracotta Army Series”, painted by
繪畫作品立足於有爭議性的題材，比如生存與死亡、命運 度和美感，在最近的展覽中贏得了許多關注。
Liu Fenghua and Liu Yong. Their soldiers are coated in new outfits and feature
國王路畫廊推出的劉風華和劉勇的兵馬俑系列作品，兵馬
expression of the demand for an equal dialogue between eastern and western
英國女王的肖像。這些兵馬俑反映了藝術家對於東西文化
the looks of US President Obama or the Queen. The Terracotta Army Series is an culture.
俑在這兩位藝術家的筆下換上新裝，比如奧巴馬的頭像、 藝術的平等對話的心願。
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A LINE OF FLIGHT EXHIBITION 《逃逸線》藝術展 WRITTEN 撰文 x HAN RUI 韓睿
PHOTOGRAPHY 攝影 x MARGARITA MONER LOPEZ
EXCLUSIVE COLUMN
Artgap is more than a magazine. It is devoted to introducing Chinese
Artgap雜誌致力於展示當代藝術，建立中英文化
Line of Flight” is the second exhibition Artgap presented for London
姆登區藝術空間舉行辦了《逃逸線》藝術展，這
arts, and bridging the cultural gap between the West and East. “A based Chinese artists, which was held in March 2011. The private view party attracted over one hundred guests, including artists,
designers, collectors, journalists, professors, art students, and many art enthusiastic from all different circles.
We are especially honoured to invite Professor Katie Hills to give us a review for the exhibition.
Artists:
Le Guo 郭洛
Haili Sun孫海力
Jeremy Lee李培宇 Xing Zhang張心
A Line of Flight
Exhibition
《逃逸線》藝術展
026/027
藝術溝通的橋梁。2011年3月，Artgap雜誌在其卡 是Artgap第二次為現居倫敦的中國藝術家舉辦展 覽。展覽開幕當晚吸引了超過百位藝術愛好者，包 括藝術家，設計師，媒體記者，畫廊，收藏家，藝 術院校的教授和學生。 同時我們也有幸地邀請到凱蒂.希爾博士也為我們 帶來她的藝評。
The exhibition A Line of Flight, shown at the Artgap Magazine space in Camden,
《 逃 逸 線 》當代 藝 術 四 人 展 近 期 在 倫 敦卡姆 登 區
to point to ‘a flow of deterritorialisation’, searching for ‘possibilities of escaping
茲和加塔利的哲學概念強調“解轄域化的流變”，尋求“
takes a concept of philosophy from French philosophers Deleuze and Guattari
from repressive forces […] to re-engage a sense of creative agency’. Agency is
certainly a strong presence in all of these works, whether it is in the interaction
of man with nature, contemporary life and the media or in the more internalised
discourse of painting itself. To borrow Le Guo’s words about his own work, the show encompasses a range of themes, ‘oscillating between abstraction and figuration; intention and process; de-formation and re-formation; conflicts and balance.’
Artgap
雜誌藝術空間展出。展覽以法國哲學家德勒
逃離壓抑力量的可能性－重歸創造力的感覺”。能肯定 的是－此次展覽中的創造動力，無論是人和自然的互 動，或當下日常生活和媒體，還是繪畫本身的內在話 語均以此為突顯點。展覽涉及到一系列主題，正如 郭 洛在談及他的作品時所述「流變於形與抽象，意象與 過程；形態的重構與解構，沖突與平衡。」
The four artists in this small group show are all from China, but have lived and
參展的四位藝術家生於中國，但生活和工作於英國多
as the problem of Chinese identity within the ‘West’ has by now become
化的界定，盡管藝術實踐存在於國家和種族話語之
worked in the UK for many years. The need to have a line of flight is self-evident, claustrophobic and delimiting. It is often irrelevant to artistic practices that lie
outside of national or ethnic discourses. This show has a gentle breadth and depth to it giving the viewer space for contemplation and consideration. Each artist has
his own line of flight in an attempt to propose in Terry Eagleton’s words ‘that most difficult of all forms of liberation, freeing ourselves from ourselves.’
年。他們的中國身份在“西方”成為了幽閉恐怖癥和僵 外和他們的身份並無太多關聯。但做為一種問題，他 們不得不需求逃逸線。這個展覽在寬度和深度上，給 予觀眾以凝視和深思的空間。每位藝術家有著自己的 逃逸線，試圖闡釋特裏·伊戈頓所說「解放的最困難形 式，唯從我們自己中解放自己。」
Zhang Xing’s group of small paintings display an interest in simple details. The
張興的一組小畫，展現了他對簡單細節的興趣。碎片
softness of touch and colour. A grey mirrored image of a clock-face semi-abstracted,
筆觸表現。半抽象灰色鐘表鏡象，綠色光影的中國國
fragmentary nature of our everyday visual experience is rendered in his works with a
式形態和日常視覺經驗在他的作品中以柔和的色彩和
Royal Portrait, 9 Dec 2010 Jeremy Lee
皇家肖像，李培宇
Toothache, 牙痛，李培宇
EXCLUSIVE COLUMN
a Chinese flag in shades of green, a small planet - things that have no significance
旗，微小的星球。這些顯然並不重要的物件嫻熟地被
Jeremy Lee’s paintings are vibrant and clear-cut images taken from images in
李培宇鮮明強勁的畫面圖像來自媒體和圖片，截取於
emotionally charged states of reality, sometimes with a political edge. The recent
廣為流傳的察爾斯王子和卡美拉的專車，困於倫敦中
apparently and yet are adeptly transformed into painterly objects.
the media or photographs, extracted and distilled into moments that describe
famous shot of Prince Charles and Camilla, caught by cameras in the back of their chauffeur-driven car in central London during the cuts protests, is immediately
recognisable as an image of shock and exposure, recalling Warhol paintings of the
kind of celebrities in compromising moments of public exposure. In the tradition of
pop icons and celebrity, the painting becomes loaded with meanings by dint of the attention and status already accrued to the image that everyone has seen splashed across every paper.
Lee’s work Nobel Chair, is a simple image of absence, painted delicately with a
sensitive attention to the blue pattern of the chair seat. The chair is the one meant for the Nobel Peace Prize winner, Liu Xiaobo, who had been jailed for eleven years
by the Chinese government for his writings advocating governmental reform. In this small yet charged painting, the feeling of absence is tangible in the absence of the
轉化為繪畫對象。
現實中具有感染力的瞬間，時有涉及政治。比如，近期 心的抗議人群中，被抓拍到他們驚愕和曝光的形象。 回想到沃霍爾繪畫作品中，名人在公眾曝光時妥協的 一刻。在明星和名流的傳統中，繪畫承載意義是憑借 著吸引大眾目光和廣為傳播的圖象。諾貝爾椅－簡易 的形象缺席。作品中對椅子的藍色圖案敏感和細膩表 現，暗示著諾貝爾和平獎得主劉曉波的缺席。由於他 倡導政治改革而被監禁。在這幅小而有張力的畫中， 感覺的缺席可感知到座者的缺席中。李培宇的自畫 像，牙痛－同樣具有名人神態，主體在富有魅力和特 色的裝束中，同樣淒苦合著雙眼，斜著嘴唇，拒絕看到 他的感受。偶像領袖毛澤東的畫像，則以側面、急速 和粗糙的筆觸強調衰老，猶如自權力中衰落。
sitter.
郭洛的作品呈現既不是再現或特定繪畫的形態。如他
Lee’s self-portrait Toothache, also has the air of celebrity, as the subject is shown as
不同的文化傳統，涉及傳統中國繪畫和西方戰後的抽
glamorous in a distinctive hoodie in red with gold swirls and yet also abject, his eyelids shut, denying the view an insight into his feelings and his mouth skew-whiff, in an apparent state of discomfort. A further portrait, of Mao Zedong, is also a strong
所說：「流變於形與抽象。」這一系列繪畫作品流變於 象繪畫。試圖汲取一種傳統、現代和當代繪畫語言的 混合體。他的繪畫棲居於沖突與和諧的雙重世界中。 郭洛的作品具有內在本能特質。比如，明亮的粉紅纏
portrayal and a critical one, as the iconic leader’s face is shown from the side with
繞著混濁的灰色調，繪畫形式融入了可觸知的繪畫材
he falls from power.
洛繪畫作品的意象呈現出靜態平衡般的流動，隱約難
sweeping, hard-edged brush-strokes emphasising his age and degenerate state, as
Le Guo’s paintings are non-representational and lie, as he says, between abstraction and figuration. These paintings that work across the cultural traditions of both
Chinese ink painting and post-war abstraction in painting, seem to be drawn from
料中，色彩和動勢相融於一種生機渤渤的力量中。郭 辯的旋轉系列球狀物，呈現出持續的流動性。作品物 質的觸感喚起對細微微生物或自然磁場中有機體狀 態的不可知性。
a combination of on traditional, modern and contemporary painting discourses. In
孫海力的作品和其它展出的繪畫作品呈現對比。他近
balance’.
市和郊區中的位置。他的錄像作品，似乎在探測無窮
Guo’s words, they are paintings that ‘inhabit the dichotomous worlds of conflict and
Guo’s work, in a palette of thick swirls of greys and pinks, has a visceral quality to it, so that the form of the paintings merge with the tangible materiality of paint,
working in a forceful dynamic of merging colours and motion. The imagery of Le
Guo’s paintings presents a stasis of movement, as swirling, unintelligible globules
or clusters seem to entail a constant fluidity. Their bodily presence evokes organic
matter at the level of micro-biology or the magnetic forces of nature that reach into the unknowable.
Sun Haili’s work stands in contrast to the paintings of the show. As a sculptor, Sun’s recent works engage in the theme of man and nature and the physical
quality of landscape in urban or suburban settings. His short film, screened on a
small television, shows the artist as explorer, surveying a seemingly endless brown
wasteland. There is a sense of the tradition of exploring and the reference to the idea
期的作品觸及人、自然和風景的物質性的關系，在都 的廢墟－ 意味著對傳統“荒野”概念的關註與探索。在 錄像結尾展現給我們的是當代密爾頓·
金市郊區“荒
野”風景的另一面，一種乏味的現代生存狀態。他通過 對“新”地域邊緣繼而被“征服”，建造成生活環境這一 現代生存狀態的探索，提出我們對自己生存環境的思 考。他的圖片作品中，人工材料被放置於自然環境中， 通過並置自然和非自然詩意般地轉化和強化了自然環 境。他對風景和物體的認知，使作品能完整和精確的 呈現。大片塑料布未修飾地懸空在屋頂的裝置作品， 金魚遊動於中，迫使觀眾仰視，也許這是對現代化武 斷的訴求，要求自然得去適應人工化的環境。同樣也 是調整自然和文化觀察的視點。金魚快樂地遊動於水 中，恰如平和地介入別的作品之中。
of wilderness, yet the end of the film reveals a contemporary suburban landscape
這個令人深思的展覽，給我們一個小小的窗口。讓我
modern living. Sun’s exploration of the modern condition through the strange
在德勒茲“解轄域化”的過程中,
on the other side of the ‘wilderness’, of modern Milton Keynes, a faceless scene of borders that lie between a ‘new’ territory about to be ‘conquered’ and the built
lived environment of suburban playing fields and new housing, poses interesting
questions about our understanding of our environment and by extension landscape
itself. Sun’s photographic works of materials placed in landscape settings, are poetic
們看到這四位藝術家探索的潛力遠遠大於這個展覽。 這幾位藝術家以個自
的“逃逸線”,離開原地並一定能到達人們期待的坐標。 凱蒂·希爾 2011年 3月
works in which landscape is transformed or enhanced by what is placed in it and
the juxtaposition of the natural and unnatural. Sun’s knowledge and understanding of landscape and the object is such that these works have integrity and a rigour of composition that makes them effective.
Tips
小貼示
Sun’s installation of goldfish, placed high up, in large pieces of thick see-through polythene, crudely pinned to the ceiling, plays with expectation and forces the
viewer to look up. This could be a comment on the arbitrary effect of modernisation,
Katie Hill
and the balance between nature and culture. The fish, taken from Sun’s own
Chinese Visual Culture at the University of
as nature adapts to an artificial landscape. It is also a nice play on viewing positions
Dr Katie Hill is Senior Lecturer in Contemporary
pond and happily swimming in the pools of clear water, act as a kind of gentle
Westminster. She is also co-director with Cai
intervention amongst the other works.
This thoughtful exhibition gives a small window onto four artists each of whose
practice has potential far beyond such a modest display. In the process of Deleuzian deterritorialization, the lines that carry these artists away also place them firmly onto the proverbial map.
Katie Hill, March 2011
Yuan of the Office of Contemporary Chinese Art
(OCCA) based in Oxfordshire, an organisation that represents and promotes contemporary artists from China. 凱蒂·希爾 凱蒂·希爾博士為英國西敏寺大學中國當代視覺文化的高級 講師。她與蔡元先生同為位於牛津的中國當代藝術研究所 負責人。該機構致力於推動和介紹中國當代藝術家。
EXCLUSIVE COLUMN
Merrily Dancing Haili Sun 孫海力
Drift With The Tide Haili Sun 孫海力
030/031
» Ph ilippe Parren o «
FANTASY MAKER
PHILIPPE PARRENO
幻境制造者 菲利普·帕雷諾 WRITTEN 撰文 x HARRY 劉競晨
BY COURTESY OF 圖片提供 x LONDON SERPENTINE GALLERY 倫敦蛇形畫廊
EXCLUSIVE COLUMN
Brief introduction of the artist
藝術家簡介
Philippe Parreno is an accomplished artist and filmmaker. He rose
菲利普·帕雷諾（Philippe Parreno）1964年出生
which employs a diversity of media including film, sculpture,
國巴黎，他是當下非常活躍的影像藝術家，其作
currently based in Paris. Throughout his work there is a constant
代以來，由於其作品的多樣性和獨特的作品展
which it is exhibited. He combines his earlier works with new
雷諾的創作歷程，不難發現他一直以來都在不
an interesting juxtaposition between creation and re-creation.
將自己的影像作品以及展示現場作為一個統一
to prominence in the 1990s, earning critical acclaim for his work,
在阿爾及利亞西北部港口城市奧蘭，現定居法
performance and text. He was born in Oran, Algeria in 1964 and is
品涉及影像、雕塑、行文表演和文字。自1990年
questioning of the relationship of the image and the modes by
示方式而被藝術界和廣大公眾所關註。 縱觀帕
visions, so that the narrative structure of his work is made up of
斷的探討影像和影像呈現方式之間的關系， 他 的整體進行考量和創作，通過其獨特的視角和 展示方式將影像作品，展示幻境以及觀眾緊密 的結合起來，重新創作出一種特殊的觀看體驗。
Invisibleboy 2010, Film still,
Courtesy of Air de Paris Courtesy of Centre National des Arts Plastiques
Ⓒ2010 Philippe Parreno
Lastest Exhibiton
最新展覽
The latest presentation of Philippe Parreno’s work was currently
帕雷諾最近的展覽是在倫敦蛇形畫廊舉辦的，
in a public institution in the UK, where four of his works, created
善於利用環境和巧妙的展覽設計來將作品和觀
taking place at the Serpentine Gallery. It is his first solo exhibition between 1991 and 2010, are one show. Philippe Parreno has a talent to use space and design to create a unique experience
for his audience. For the exhibition at the Serpentine Gallery he uses sounds as a a medium to create an experience of multiple realities.
展示他從1991年至今的四部作品。帕雷諾非常 眾 統 一 起 來，此 次 展 覽 也 不 例 外，觀 眾 必 須 在 畫廊中不斷的探索和穿梭來追逐滾動播放的影 像，同時帕雷諾設置了可以接收戶外聲音的麥 克風，使得在作品開始播放之前觀眾很難分辨 虛幻的影像和現實之間的界限，一旦作品開始 播放，混雜現實與虛幻的聲效混合帶給觀眾多 重現實之間的復雜體驗。
EXCLUSIVE COLUMN
June 8, 1968, 2009, Film still,
Courtesy of Pilar Corrias Ltd
Ⓒ2010 Philippe Parreno
June 8, 1968, 2009, Film still,
Courtesy of Pilar
Corrias Ltd
â&#x2019;¸2010 Philippe Parreno
034/035
The Boy From Mars,
2003,Installation view, Serpentine Gallery, London
Ⓒ2010 Gautier Deblonde
The Boy From Mars 2003,Film still
Ⓒ2010 Philippe Parreno
EXCLUSIVE COLUMN
June 8, 1968, 2009
,Film still,
Courtesy of Pilar Corrias Ltd
â&#x2019;¸2010 Philippe Parreno
036/037
Invisibleboy 2010, Film still,
Courtesy of Air de Paris
Courtesy of Centre National des Arts Plastiques
â&#x2019;¸2010 Philippe Parreno
EXCLUSIVE COLUMN
Invisibleboy 2010, Film still,
Courtesy of Air de Paris
Courtesy of Centre National des Arts Plastiques
â&#x2019;¸2010 Philippe Parreno
» Shoran J iang 姜嘯然 «
BETWEEN LIFE AND DEATH 抉擇在生死之間 WRITTEN 撰文 x SHORAN JIANG 姜嘯然
To be or not to be, that is the question —Shakespeare, Hamlet 是生存還是死亡，這是一個問題 —莎士比亞《哈姆雷特》
EXCLUSIVE COLUMN
Suicide-Ophelia Front and Back
It is undeniable that we are still living in a male-dominated
world. In this type of society, emotional suffering of women is
something that easily tends to be ignored. But often, the things
we strongly suppress are those we should most urgently address. Suicide, as the most extreme consequence of emotional wounds and pain, is generally a taboo issue, but one that – due to its
extremity – can strongly stimulate reflection. That’s why I choose suicide as the subject of my artwork, although I know that it is an extreme form of discourse.
The Ten Commandments of the Bible, include ‘Thou shalt not kill’
in Exodus 20: 13, which refers to both killing oneself and others. In Buddhism, it is believed that people who kill themselves will stay in hell forever and will never be reborn into a new life. Although
the subject may be taboo, when women artists represent suicide, their purpose is to make people think about the issue rather than encourage it. If the works make audiences think about why these women commit suicide and how they had become emotionally wounded, then the works can be seen as successful. This is my main intention.
An important creative choice for me was the material to work
with. I selected semitransparent silk which allows me to create two layers of my paintings so that the works can be seen from
both sides. Silk is a thin, soft and elegant material, which is widely used in fashion and is a symbol of femininity. The character of silk reflects my true feelings about emotionally wounded women.
The layers of silk allow me to show that you cannot always see
painful experiences on the outside of a person. Suffering woman may disguise their true stories and emotions, so in my paintings I use masks to symbolize this hidden inside world, whereas
butterflies are the symbol of rebirth. Furthermore I use blood in an obscure way to show that the wounds are not only on their body, but also in their heart.
The inspiration for the Suicide Series is taken from prominent
suicides in both literature and history, such as those of Jocasta in
the Greek Mythology, Shakepeare’s Juliet and Ophelia, or Amedeo Modigliani’s wife Jeanne, who committed suicide only two days after her husband’s death.
Suicide is a direct way to take control of one’s own destiny, as
birth is controlled by the parents and death by nature. However, it is a paradox that the only action a person can take to gain control over his life is the very action that will lead to its end. Women’s
traumas, suicide, and a person’s destiny are subjects that move me and I will further explore in the future.
EXCLUSIVE COLUMN
不可否認，當今仍然是一個男權社會。而在這個社會大背景之下，女人所 受到的情感傷害就更容易被人們所忽視。越被忽視的現象，其實往往更應 該被重視。自殺是一種情感的極端的發泄，正因為這種極端的形式，更能 給人們留下各種各樣的回味。在眾多中外名著中，自殺的女人，往往更容 易打動讀者。比如莎士比亞的《羅密歐與朱麗葉》，在朱麗葉淒婉的自殺 之後，每個讀者無不為這一舉動而黯然。而中國霸王別姬的故事，虞姬自 刎，也在歷史上留下了一筆。 在許多的文化宗教當中，自殺是禁忌。比如佛教當中，自殺的人不可以再 轉世輪回，基督教中的“十誡”中的“不可殺人”，也包括了不可以殺自己的行 為。我的作品，並不適用血腥的畫面來告訴大家如何自殺，而是通過一種 唯美的手法，讓人們關註這個話題。我希望，觀眾可以通過我的作品，看 到這個世界，女人特有的脆弱，女人獨有的敏感。而我也正是從一個女人 的角度，來表達一個女人的觀點。 在材料上，我結合了中國和西方的繪畫材料；技法上也是將國畫傳統的沒 骨、線描等技法結合西方的水彩渲染的手法；在人物造型上，也是把寫實 和虛幻融合到了一起，力求創作出一種飄渺卻又真實的夢境。我選用了多 種象征手法：蝴蝶，取其“破繭重生”的寓意；女人飛舞的秀發，表達了女人 內心的矛盾；面具，是生的時候所佩戴的，直到死的時候，才被拿下。兩 層畫布，使我的繪畫作品，突破了二維，而成為了三維藝術。觀者更是可 以從前後兩個不同的角度，來體味女人不同的情感世界。 了斷系列選擇了文學或者歷史上著名的女子自殺事件作文靈感，比如《伊 俄卡斯忒》。這張取材於西方著名的俄狄浦斯王的故事，而在這個“性格決 定命運”的悲劇故事中，俄狄浦斯王的母親伊俄卡斯忒更始以自縊的方式結 束了她悲慘的命運。再比如耳熟能詳的《朱麗葉》、莫迪裏阿尼的妻子《 珍妮》（在莫迪裏阿尼趨去世後的第二天，帶著腹中的孩子，跳樓自殺） 、《奧菲莉亞》（莎士比亞《哈姆雷特》中的不忍悲慘命運，跳河自殺的 女人）。 自殺這個主題，並不是單單關註與自殺這個現象或者這種情感的表達方 式，其實更多的是探討女人對於自己命運的自主權。因為生，受於父母； 死，決於自然。而自殺，是唯一一種可以掌控自己命運的手段。 但，這是 一個悖論，自殺是唯一一個可以直接決定自己命運的手段，而也是斷送自 己生命的方式。
Suicide-London
impression Front and Back
042/043
» A nt hon y Eban ks «
PILLARS STRUCTURING OF YOUR FLOW 支柱--構建你的流程 WRITTEN 撰文 x ANTHONY EBANKS
TRANSFORMATION ARCHITECT 圖片提供 x D&AD
EXCLUSIVE COLUMN
In order to build upon the past articles introducing FLOW methodology for producing quantifiable, successful creative and transformational projects for organizations to the widest possible audiences, this one will focus on ‘Pillars’.
之前的文章我對於生產適用於組織甚至於最廣泛的觀眾的、可以計量的、 成功的、獨創的、可轉換的項目的方法論進行了介紹，基於以上的方法論， 本文將著眼於“支柱”。
» Goals, Pillars, Milestones, Refining, Evaluation
» 目標、支柱、重要階段、精煉、評估
Creative or transformational ideas no matter how innovative it requires a set of
創意或者物質化的想法，無論怎樣創新都需要支柱。
concept credible to develop into a project. The following are a set of criteria to help
靠並發展成一個項目的元素。以下的是這些概念可以
pillars. Pillars are the sets of circumstances and or items that make your idea or identify your pillars.
支柱是一些環境情況或者那些使你的想法或理念可 幫助確定你的支柱是什麽。
Clarity – how would you tell someone in a sentence what the idea is?
清晰度--你如何用一句話告訴別人你的想法是什麽？
enough to aptly express it.
句深思熟慮的語句足以恰當地表達出來。
This is the distillation of your idea, what it does and why, a thoughtful sentence is
這是對於你的想法的一次升華，它做什麽，為什麽，一
A pragmatic way to see it, is to think what you would answer, if someone asked
以實用主義的態度來看，如果被問及你的職業，你會
• Your company is a mute point
• 你的公司是無意義的
you what you did for a living?
• The job title you have is a mute point
• The experience you have is a mute point
My answer to that question is “I solve problems” – Consider what yours would be. Location – Where does the idea need to happen?
The world is smaller than ever, but some things can only be done in one place, choose the right place for your idea to become a project and flourish. Expertise – What expertise is needed?
怎麽說？
• 你的頭銜是無意義的 • 你的經驗是無意義的 對於這個問題，我的答案是“我是解決問題的”--想像一 下，你的答案會是什麽。 位置--這個想法會在哪裏發生？
如今的世界比任何時候都要小，但是有些事情只能在 一個地方完成，選擇合適的地方去發展你的想法。
Time to be honest with yourself, can you do this or will others need to be a part of it,
專業知識--你需要什麽樣的專業知識？
must be a business decision.
是需要其他人的協助，如果你需要協助，他人為什麽
if you need others why would they do it? Creative or Transformational project – this
Assets – Where does the money / supplies come from?
Whatever you think it will cost – add 15%, economics is the lifeblood of an idea – get
是你要誠實面對自己的時候了，你可以獨自完成嗎，還 要這麽做。創意或者物質，這必須是一個商業決定。 經濟因素--這些錢從哪裏來？
this pillar right or the idea will wither.
無論你認為成本是多少--加上15％，經濟因素是一個
Responses – What do outsiders do when they know about the idea?
的想法就會流產。
“I want one”, “let me see” or “I want to do that” – how people react to the idea is
想法的生命線--要清楚無誤地了解這個支柱，否則你
something to pay attention to as it can make or break it.
反應--當局外人知道這個想法以後，他們做什麽？
Success depends upon making CLEAR pillars a part of your preparation, and without
對於某個想法，人們如何做出反應，是成敗的關鍵。
such preparation there is sure to be failure.
我相要一個想法，讓我想想看，或者說，我想這樣做-成功取決於以往的準備，如果沒有這樣的準備，一定 會失敗。
» Graham F ink «
ADVERTISING: THE MOST FUN YOU CAN HAVE
广告：最有趣的事 An interview with Graham fink 采訪英国創意教父Graham Fink WRITTEN 撰文 x JENNY LU 陸雯恺
PHOTOGRAPHY 攝影 x MEIEN LIEN 連美恩，JINGWEI ZHANG 張靖威
EXCLUSIVE COLUMN
Graham Fink, a remarkable figure in today’s advertising industry,
Graham Fink 先生，英国广告界的傳奇人物，創意
agency to join Ogilvy & Mather China. Taking on the role of chief
前往中国上海担任中国奥美的創意總監，領導17
the current Creative director of M&C Saatchi is leaving the
creative officer, He will be responsible for overseeing the creative department across 17 offices for Ogilvy China. The co-founder of Artgap magazine Ying He and editor Jenny Lu had an interview with Graham in his current London office.
教父，原倫敦 M&C 薩奇广告公司的創意總監，将 家各地分公司的創意部門。Artgap 雜誌聯合創辦 人 Jenny Lu 在倫敦採訪了他。
Artgap：当初是什么讓您選擇進入广告業的？
Artgap:What causes to you work in advertising?
Graham: I went to the art school. I like everything there, painting, photography, calligraphy, typography, design and illustration.
Then I found out that in adverting you can do all sorts of things. It’s all combined together.
Graham：我上的是藝術类大学，我几乎喜歡所有 关于藝術的東西，像油画，攝影，書法，平面設計， 插画。然后我發現在广告業你可以做所有這些事 情，你可以拍電影，做大幅的油画，广告把我所熱 愛的都包括了。
Artgap:How is your typical day like?
Artgap：您平常的生活是如何安排的？
at night. I work as hard as a Chinese. If I am lucky I got weekend
：30工作到晚上9：00，运气好的話会有周末。我
Graham: Incredibly busy. I start about 8:30 in the morning till 9:00 off. I have lots of meeting, lots of projects. Very fast but very
stimulating and lots of fun. They always say advertising is the most fun you can have with your clothes on.
Artgap: Where do you normally get your inspirations from?
Graham：我的工作相当的繁忙，通常要从早上8 像中国人一樣相当努力地工作，呵呵。每天都有不 同的會議，不同的項目，工作節奏很快，但是非常 有趣，讓人振奮。我們常說：做广告是人穿着衣服 能做的最有趣的事了。
Graham: I have got 2000 books in my office, and I’ve got more at
Artgap：您的創意灵感通常来源于哪里？
stuff some people just past over, like pavement or the wall. I take
本，家里更多。我也喜歡去看一些藝術展覽。我經
home. I go to lots of art galleries, but I also find inspirations in the thousands of pictures of walls and pavements, you look at the
walls you see cracks and paint leaking off, and they are inspiring. Inspirations come from anywhere, and you just always should have an open mind.
Graham: 我看很多書，在我的辦公室里就有2000 常从一些微不足道的地方尋找灵感，比如說一堵 有裂縫的牆或是油漆還没有干的人行道。我会用 相机把他們拍下来，這些人們容易忽略的細節對 于我来說通常是最能激發灵感的。
046/047
Graham Fink 所獲得的廣告
和藝術獎項，其中包括D&ad，
戞納等多項廣告大獎
Artgap: What do you think of the relationship between art and advertising?
Artgap：那您怎樣看待广告与藝術的关系？
inspired by art and artists are inspired by advertising too. If you look at the works
藝術表現形式的一种。广告經常会被藝術所感染，而藝術
Graham: Lots of links. I don’t think adverting is art, but it’s a form of it. We are of Andy Warhol, you will see POP art is inspired by adverting and comics.
Artgap: You have set up a school called “theartschool”, can you tell us more
Graham：两者有很多聯繫，但我認為广告不是藝術，但是 家們也会从广告中尋找灵感。如果你去看 Andy Warhol 的作品，就会發現波普藝術很受广告的影响。
about it?
A r t g a p：听 說 您 在 英 国 成 立 了 一 个 公 益 学 校
people for free. I just told students I am going to do this and I would give them a
G r aham:当時 我 想義 務教 大 家 广告 知 識 ，所以 就有了
Graham: “theartschool” is the idea I had where I wanted to teach and help
day in a venue. We always have different venues, and we did once in Parliament House. Anyone who wants to come just turns up, we had 50 to 250 people. I would give a talk and I normally get a guest speaker to do a talk and I would
show some works. Then I would set a brief and we work on it. I look at the works
at the end of day, giving feedback. They are fantastic, and it’s a great way finding talents. I plan to open “theartschool” in China as well to inspire the Chinese students and help them get into advertising.
Artgap: Could you tell us one of your most memorial things happened in your work?
叫“theartschool”可以向我們介紹一下嗎？
辦“theartschool”（藝術学校）的想法。我告訴大家我每次 会定一个地方，給大家一天時間，任何人只要感兴趣都可 以来听。每次我都会選特别一点儿的地方，比如有一次就 在議会大楼。来上課的人每次50到250人不等。通常我会 邀請一位特約嘉賓和我各做一个演講，然后我給大家一 个創意要求, 大家一起討論。最后我会給学生們的作品做 些點評。大家的作品都非常不錯，這也是一种發現人才的 方式。我希望我能把這个学校开到中国，給大家灵感，帮 助大家進入广告界。
Graham: More recently I work with Tony K, he is an excellent film director, and
Artgap：您在工作中有没有遇到一些難忘的事情可以和
have chefs in the kitchen chopping big bubbles into small ones, and the idea is
Graham: 就在前段時間，我与電影導演 Tony K 合作拍
he is a genius. We did a commercial with him for a beer called Cronburge. We
that smaller bubbles give you smoother taste. Tony shot the commercial with
the chefs in the kitchen chopping bubbles, which is pretty mad. In the between break, he played guitar, writing songs and singing, then he went back to shoot the bubbles. An amazing man!
Artgap: When China is mentioned, what is the first thing you would think of?
Graham: The city of the future, very very fast, lots of people, lots of visual delights, lots of amazing architecture, different ways of thinking and lots of chicken feet. Artgap: What do you think of the advertising in China nowadays?
Graham: Compare to the UK’s, it’s very conservative. I will try to make the work
我們讀者分享一下？
Cronburg 啤酒的广告，他真是个天才。我們想表达泡沫越 小，口感越絲滑的概念，所以請厨師們把大泡沫切成小泡 沫。他在厨房里拍，厨師不断切着泡沫，場面瘋狂又混乱。 中間休息的時候，Tony一邊写歌，一邊唱歌彈吉他，然后 又繼續去拍切泡沫。不可思議的家伙！ Artgap：当你想到中国的時候，首先進入你腦海的將會是 什么？
Graham:
未来感的城市，快速的節奏，龐大的人口，不同
的思考方式，当然還有和很多很多的雞爪子！
better and more interesting, innovative and creative. I believe in working closely
Artgap：您如何看当今的中国广告？
part of the team. You have to work together, understand and help each other to
的，我会努力做得更有趣新穎。我相信不僅在創意部内
with people, not just creative team but also strategies and client. Every one is get great work.
Artgap: What’s the biggest challenge you can imagine about working in
Graham:
和英国比起来，現在中国的广告還是比較保守
需要協同合作，更要和策划部還有客戶彼此理解，互相支 持，那一定就会很做出出彩的作品。
China?
Artgap：在中国工作對您来說最大的挑戰是什么？
amazing culture there. Oh, of course and the chicken feet.
東西需要學習，中国文化非常神奇。恩，当然，吃雞爪也很
Graham: I think it’s the language, and I have a lot of culture to learn. It’s an
Artgap: Do you think you will be affected by the culture difference, for
Graham: 恩，可能是語言吧，另外我還有很多文化方面的 有挑戰性。
instance, the client with different mind?
Artgap：您怎麼看待中西文化差异帶来的影响，比如中国
things in common. We all like to laugh at funny things; if you are hungry, we all
Graham:
Graham: Obviously it will be a challenge but I think human being have lots of
go for eat; we all like to go on holidays; if some one dies we all very sad. Human
emotions are always the same, you have to start there to make a connection on something is not on your head, but on the heart level.
客戶的思維方式也会不同？
虽然文化上会有巨大的差异，但人类有很多共
性。我們都会笑，都会餓，都会難過，人类的情感都是互通 的。我們要試著溝通心灵，而不僅僅是思維。
EXCLUSIVE COLUMN
Artgap: When will you actually start your work at Ogilvy China?
Artgap：您担任中国奥美任創意總監的具体日期
Graham: I will start on July 18th which I hear is a lucky number
Graham: 我会在7月18日正式上任，我听說這是个
How do you feel about it?
coz there is 8, and 8 plus 1 is 9. 9 is a good number as well. I think
it just gonna be a big culture shock. For us is like a new planet. It’s a fantastic thing to explore. I want to visit lots of Chinese cities. I
am looking after 17 offices, I want to visit all of them and it will be like my second life.
Artgap: How are you going to inspire people when you go to China?
是？您将会是怎樣的心情？
吉利的数字，有个8在里面，1加8是9，又是个不錯 的数字，呵呵，祝我好运吧。中国對于一个来自英
等着我去發掘。奥美在中国就有17家分公司，每 一家我都很期待去看看，好像我要开始我的第二 次人生。
of samples, and I will be very passionate. Hopefully passion and
国，組織很多演講，展示很多的作品。我会用我的
Graham:我会帶很多英国的優秀广告作品去中 巨大的工作熱情去感染人們，激發他們的灵感。
Artgap: What advice will you give to people who would love to
Artgap：您對想進入广告業的年輕人有什么忠
In advertising you got a brief, some people just translate the brief
Graham: 首先，你必須停止思考，因為過于理性会
work in advertising?
onto the page. You should get rid of that. Chop off your head and let the heart come out.
告？
讓你變得小心翼翼，中規中矩。你需要做的是把 頭砍下来，讓你的心跳出来說話。
Artgap: Can you give a word for the readers of Artgap?
Artgap：最后想對我們Artgap讀者說点什么？
now. If you are there, congratulations; if you are not there, come
如果你現在在中国的話，恭喜你！如果不是，赶快
Graham: China is the most exciting place to be in the world right to China.
是一個作品成功的關鍵
一个星球一樣，我相信一定会有很多精彩的東西
Artgap：去了中国以后您将如何帶領新的團隊？
inspirations will come out and excite people.
創意頭腦風暴，團隊合作往往
国的人来說是个如此神秘而龐大的国家，就像另
Graham: Showing people interesting work, I will take a lot of work from UK which I can show, I will do lots of talks, I will show lots
廣告設計師們在工作室進行
Graham: 中国是当今世界上最讓人激動的地方， 去中国。
Artgap雜誌的市場總監何穎
（左） ，Graham Fink 和本 文作者陸雯恺（右）
SPECIAL FEATURE
ALL FOR ONE AND ONE FOR ALL
TATE MODERN 人人為我 我為人人
泰特現代美術館 WRITTEN 撰文 x HARRY 劉競晨
PHOTOGRAPHY 攝影 x 李梅 LI MEI, MARGARITA MONER LOPEZ BY COURTESY OF 圖片提供 x 泰特現代美術館 TATE MODERN
Outside view of Tate Modern
泰特現代美術館外景
Located in London, Tate Modern belongs to the family of four Tate galleries (Tate
Modern, Tate Britain, Tate Liverpool and
Tate St Ives) which display selections from
the enormous Tate Collection, which is the national collection of British art since 1500 and international modern art. What is im-
pressive about Tate Modern is not only the
size of its collection, but also that it survives and develops as a charity. ----------
泰特現代美術館是英國主要的現代美術館，也是 倫敦最受訪客喜愛的名勝之一。它坐落在倫敦， 於其他四個美術館（泰特英國美術館，泰特現代 美術館，泰特利物浦美術館，泰特聖艾富思美術 館）共同展示泰特的藏品。泰特現代美術館最有 特點的地方，不單單是它龐大的館藏，而更有特 色的是它作為一 個慈善機構的生存方式，以及它 回報社會的形式 。
050/051
History
歷史──積澱
Tate Modern is situated on the Bankside, an area on the
泰特現代美術館位於泰晤士河南岸，聖彼得大教堂
dral and 10 minutes walk from London Bridge. As one of
倫敦最古老的地區之一，這是羅馬人在公元43年到
south bank of the River Thames, opposite St Paul’s Cathethe oldest districts in London, this area was originally an ancient settlement which sprang up around the south
end of the first London Bridge, built by the Romans shortly after their arrival in Britain in AD43. This area has experi-
enced ups and downs: prosperity in the Middle Ages, then the emergence of a pleasure ground, the rise as a centre
for commerce and industry in the mid eighteenth century, and the horrors of heavy bombing during the Second
World War. In the late 1980s, the Southwark Council began
對面，距離著名的倫敦塔橋僅10分鐘的路程。作為 達英國之後，繁衍生息而來的。在經歷了中世紀的 繁榮，到後來的娛樂場所的興盛，至18世紀中葉的 經濟發展，再到二戰之後的衰落與重建，這片地區 經歷了風風雨雨。20世紀80年代，議會決定要重新 挖掘這片地區的潛力，而將泰特現代美術館選址於 此地其實是對這一地區重建的關鍵。而將泰特現代 美術館安置在這裡，確實為這裡帶來的很大的生機 和藝術文化氣息。
to realise the Bankside’s true potential. The redevelop-
大約在1990年，最初的泰特美術館的館藏大大增
as key to the regeneration of the area. With the creation of
館也訂位在展示國際現代部份的藝術品，這也是
ment of the redundant Bankside Power Station was seen the Tate Modern, this area has become a vibrant cultural focus for London.
By about 1990 it was clear that the Tate Collection had
長，這時，一個新展館的需求迫在眉睫。而新的展 倫敦首個現代藝術的博物館。與此同時，原先在 Millbank的泰特大樓轉向於英國藝術。
hugely outgrown the original Tate Gallery on Millbank. It
新館大樓 ─ ─重生
the international modern component of the Tate Collec-
泰特現代美術館大樓的前身是河畔發電站，當初由
museum of modern art. At the same time, the Tate build-
在1982年時發電站停止運營。而這座建築巨大的面
ed function as the national gallery of British art.
的優勢。而新的泰特館於之前的泰特美術館在泰晤
was decided to create a new gallery in London to display tion. For the first time London would have a dedicated
建築師史考特（Giles Gilbert Scott）設計建造的。
ing on Millbank would neatly revert to its original intend-
積，顯明的外型，優越的地理位置，都是無法比擬
Conversion
士河兩岸遙相呼應，兩座展館可以通過泰晤士河的 船舶相連結。
The Tate Modern complex was a former power station
that had closed in 1982, so it was available for the conversion into a gallery. It was a very striking and distinguished building in its own right, by the architect Sir
Giles Gilbert Scott. Its enormous size, great architecture
and amazing location appeared something of a miracle. The fact that the original Tate Gallery was also on the
river made a satisfactory symmetry, and meant that the two could be linked by a riverboat service.
而對於原發電站的改造也是通過國際建築大賽， 向全世界徵集改造方案而獲得的。最終的獲獎方 案由瑞士建築設計師雅克 · 赫爾佐格（Jacques Herzog）和皮埃爾· 德· 梅隆（Pierre De Meuron） 提供的。他們的方案被選中的一個重要原因就是他 們保持了這座建築的大部分特點。在經過了改建之 後，現在的泰特現代美術館便矗立在了世人面前。
Tips
小貼示
An international architectural competition was held
Opening Hours:
final choice was the relatively small Swiss firm Herzog
Fri and Sat, 10.00–22.00
proposal retained much of the essential character of the
開 放 時 間：
attracting entries from practices all over the world. The and De Meuron. A key factor in this choice was that their building.
Sun – Thu, 10.00–18.00
Closed 24, 25 and 26 Dec
周日－ 周 四 1 0：0 0 － 1 8：0 0
Outside view of
周 五、周 六 1 0：0 0 － 1 8：0 0 1 2月2 4 － 2 6日閉 館
Tate Modern
泰特現代美術館外景
SPECIAL FEATURE
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Tate Modern Collection
館藏─內涵
Created in the year 2000, Tate Modern now displays the national collection
2000年，在改建了倫敦中心廢棄了的電站，泰特現代
shown at the National Gallery and sculptures at the Victoria & Albert Mu-
的分界點是1900年，1900年之前的繪畫作品在國家
of international modern art since 1900. International paintings pre-1900 are seum. Tate Modern includes modern British art where it contributes to the story of modern art, so major modern British artists may be found at both Tate Modern and Tate Britain.
The Tate collection of modern and contemporary art represents all the
美術館展示國際現代藝術藏品。所謂現代藝術藏品 美術館展出、雕塑在維多利亞與艾爾伯特博物館展 出。而泰特現代美術館囊括了對於現代藝術有著傑 出貢獻的英國現代藝術作品，所以，那些主要的英國 現代藝術家的作品都可以在泰特找到。
major movements from Fauvism on. It includes important masterpieces by
泰特現代和當代藝術的館藏囊括了從野獸派開始的
of Surrealism, including works by Dalí, Ernst, Magritte and Miró. Its sub-
斯；世界上最好的超現實主義作品的館藏，包括達
both Picasso and Matisse and one of the world’s finest museum collections stantial holdings of American Abstract Expressionism include major works
by Pollock as well as Rothko. There is an in depth collection of the Russian pioneer of abstract art Naum Gabo, and an important group of sculpture and paintings by Giacometti. Tate has significant collections of Pop art,
including major works by Andy Warhol, Minimal art and Conceptual art.
Tate also has particularly rich holdings of contemporary art since the 1980s. Tate Modern’s displays are located on Level 3 and 5, and almost all of the
所有主要藝術運動的作品：其中包括畢加索、馬提 利、恩斯特、馬格利特以及米羅；豐富的美國抽象表 現主義的作品，比如波洛克、羅斯科；俄羅斯抽象藝 術的先鋒Naum Gabo的作品；賈科梅蒂的代表性 雕塑和繪畫；波譜藝術，如安迪·沃霍爾；以及極簡主 義和觀念藝術的作品；而20世紀80年代後的藝術作 品，泰特也有非常豐富的館藏。
pictures of the collection can be viewed on the website.
泰特現代美術館也是國際當代藝術在英國的家，當今
Tate Modern is also the home of international contemporary art in the UK,
在此展出、收藏。2003年，蔡國強應泰特現代美術館
presenting the work of artists working today from around the world. In 2003, Cai Guo-Qiang designed a pyrotechnic work entitled “Mr Ye Who Loves
Dragon”. From October 2010 to May 2011, The Unilever Series: Ai Weiwei
was shown in the Turbine Hall in Tate Modern. In 2010, Chen Zhen’s works entitled “Cocon du Vide” was added to the Tate Collection.
世界各地的藝術品陳列展示於此。中國的當代藝術也 的邀請，完成了他的焰火作品《葉公好龍》。2010年 10月到2011年5月，聯合利華系列：艾未未葵花籽在 泰特展出。2010年， 華裔藝術家陳箴（1955－2000 ）的裝置藝術作品《空繭（ Cocon du Vide ）》 被泰 特現代藝術美術館永久收藏。
Joseph Mallord
William Turner, The Blue Rigi, Sunrise,1842
Watercolour on paper, Tate Modern
Patrick Heron
January 9: 1983: II 1983
© Estate of Patrick Heron. All Rights Reserved, DACS 2010
SPECIAL FEATURE
programmes. For instance until 2010 the Swiss bank UBS used to donate an undisclosed amount of backing to rehang the perma-
nent collection ans sponsored other events as well. Also Unilever belongs to the corporate donors. Most recently, the Unilever Series presented Ai Weiwei’s Sunflower seeds. Individual Members, Patrons and Donors
The philanthropic contributions made by individuals are a vital
source of income, enabling Tate to present a broad programme
and add new works to the Collection. With over 91,000 member-
ships, the scheme contributed nearly £5 million to Tate in 2009-10. Trading activities
Tate Enterprises is responsible for Tate’s commercial activities,
including publishing, retail and catering, and in 2009-10 made a
contribution of almost £3 million to Tate. The success of Tate Enterprises rests on its commitment to making visits to Tate enjoyable, and an understanding of and sensitivity to the art and artists Tate works with.
大家一起來貢獻─人人為我 作為一個慈善機構，泰特美術館從運營資金到籌建館藏都離不開社會的支 持。對於泰特的支持，如同其他美術館，對於人力、物力和財力的支持 。對 於人力上，可以申請在泰特實習、或是作免費志願者的工作。而在物力上， 可以向泰特捐贈作品、提供保護藝術品的服務或者設備。相比之下，對於 泰特財力上的支持，是最直接的方式了。 每年，作為慈善機構的泰特，大約40％的運營資金來自政府。剩下的60％ 則來源於其他，包括各種捐贈。這60％的資金主要來源於：
Everyone’s Contribution: All for One
泰特基金
籌建館藏、保護藝術品、將藝術品通過更多的形式展示給更廣泛觀眾群
As a charity, from an operational level to the constitution of the
團體支持
ety. People can contribute to the work of Tate as interns, volun-
比如泰特與瑞銀集團（UBS）在泰特現代館藏以及教育方面的合作，聯合
collection itself, Tate Modern depends on the support of the sociteers and through donationof funds and artworks.
團體支持是指與一些機構的合作，來共同完成一些藝術展示或藝術項目。 利華對於葵花籽藝術項目的支持。
Each year, the gallery receives approximately 40% of the run-
會員、贊助人、捐贈者
remaining 60% comes from other sources:
活動計劃的同時豐富了泰特館藏。以會員為例，在2009－2010年一年之
ning costs from the Department of Culture, Media and Sport. The
The Tate Fund contributes to the building and conservation of the collection, in order to bring art to new audiences. Corporate Support
Tate also obtains corporate support for some art projects and
個人的慈善捐款是泰特美術館的重要收入來源，為泰特提供了更廣泛的 中，九萬一千名會員為泰特增加了500萬英鎊的收入。而在泰特現代藝術 館中，隨處可見捐款箱，在泰特網站上也可以隨時捐款。 貿易活動
泰特企業負責泰特美術館的一切商業活動，包括出版物、商店、餐廳，僅 2009－2010年一年，泰特企業為泰特贏利300萬英鎊。泰特企業的成功 在于為觀眾們努力創造藝術氣息及賓至如歸的氛圍。
Returns to Society : One for All
回報社會─ 我為人 人
As the returns to society, Tate Modern contributes in many differ-
泰特現代美術館自建館開始，以多種形式，全方位為回報社會，體現在
ent ways, such as free exhibitions, education, Tate Research, and conservation of artworks.
With an average 13,000 people coming through the doors
every day since 2000, Tate Modern has become the third most visited free attraction in Britain and the most popular modern
art gallery in the world. Across Tate Modern’s programme, Tate
Modern showed works from the Collection in innovative displays, strengthened the presentation of newer art forms such as film and video, expanded horizons to include art from around the
world and engaged audiences in new ways through live events. Tate Modern’s Collections are opened free to the public, but almost every picture of the collection can also be viewed on
免費展覽、教育、泰特科研成果、保護藝術作品等方面。 自2000年開館起，日均一萬三千的人流量使得泰特現代美術館成為訪 問量局英國第三的免費景點和世界最知名的現代藝術館。通過泰特現 代美術館的計劃，館藏以創新的形式展示給世人，加強了更新的藝術 形式比如電影、影像的展示，拓展了來自世界各地的藝術涵蓋，通過現 場活動更緊密地連結了觀眾。 泰特現代美術館的館藏展是全年免費對公眾開放的，並且定期更換。 幾乎有所的館藏圖片也可以在泰特官網上免費瀏覽。泰特現代美術館 有各種適合不同年齡、人群的活動，比如講座、座談會、課程、工作室 等：對於學校，也可以申請在泰特開展實地藝術教育活動，鼓勵孩子們 獨創的獨立思考能力；對於藝術從業者和教師，也可以在泰特參與其 他藝術家的藝術工作之中來豐富他們的藝術經驗。
SPECIAL FEATURE
Tate Online. Furthermore, there are different events that suit the
interests of a broad audience, such as Talks and Discussions, Symposia, Courses and Workshops. Tate Modern Schools Programme focuses on the way of encouraging students to think creatively
and independently and are carried out with schools around the
country. Tate Teachers programme offers teachers, gallery educators and artists the opportunity to work with a practising artist to explore practical and creative approaches to engaging with art works.
Tate Research is yet another way to return society. It underpins
the acquisition of works of art, their treatment and conservation,
the writing of interpretative texts and scholarly publications, and
the creation of displays and exhibitions. Research also plays a key role in developing museum policies, understanding Tate’s audiences and planning new services.
Tate seizes opportunities presented by digital media to interact with audiences in new and exciting ways. Audiences have re-
sponded by making Tate Online the most popular arts website in the UK, with over 1.8 million monthly unique visitors. The videos of talks, discussions and interviews can be found and viewed
on Tate Online. The Tate Kids website was enhanced in 2009,
including new games and films. It is designed to make children
understand art, teach them about the protection of artworks and let them create their own creative works online.
泰特現代美術館的另一個回報社會的方式就是“泰特科研成果”。泰特科研 成果著眼於藝術作品，如何保護藝術作品，對於解釋性文本和學術刊物的 收錄，以及展覽展示的相關作品。此外，研究成果項目在研究發展博物對 策、瞭解泰特觀眾和指定新的服務方針，起到了關鍵的作用。 泰特現代美術館的官方網站也提供了獲取藝術知識的多種方式。每月180萬人 的瀏覽量，泰特網站已經讖緯英國最受歡迎的藝術網站。比如講座、採訪的視 Gabriel Orozco - Sleep-
Gabriel Orozco -
© Courtesy of the artist;
Fonds national d’art
ing Dog, 1990
Marian Goodman Gal-
lery, New York; Galerie Chantal Crousel, Paris; and kurimanzutto, Mexico City
La DS, 1993.
頻，可以在網站上免費觀看。2010年，泰特更是發佈了“泰特兒童”的網站，在這裡 小朋友們可以通過遊戲、電影等多種形式來瞭解藝術、如何保護藝術品、在線 創作，讓藝術在稚嫩的心中打下基礎。
contemporain, Puteaux, France.
© Courtesy of the artist. Photo: Florian Kleinefenn
Conclusion
結語
Tate Modern is a great example
從泰特現代美術館，我們所能
charity: all for one and one for
藝術機構的運營模式─人人為
of the functioning of British
all. What Tate Modern receives
through funding and donations, in returns even more to society through an impressive collection and a vibrant culture of projects and events.
056/057
看到的，其實是整個英國慈善 我，我為人人。在收到了多方 的捐贈、資助的同時，泰特現 代美術館，更多考慮到的是如 何回報社會。從另一個角度來 說，每個捐贈者，都會從自己的 捐贈當中獲得切實的收穫。
BRINGING ALL KINDS OF ART FORMS UNDER THE ONE ROOF
BARBICAN ART CENTRE 海納百川 有容乃大
巴比肯藝術中心 WRITTEN 撰文 x HARRY 劉競晨
PHOTOGRAPHY 攝影 x SHU YIFEI 舒逸飛, ZHANG JING WEI 張靖威 LI MEI 李梅, MARGARITA MONER LOPEZ
BY COURTESY OF 圖片提供 x BARBICAN ART CENTRE 巴比肯藝術中心
Outside view of
Barbican Art Centre
巴比肯藝術中心外景
The Barbican Art Centre is Europe’s largest multi-arts and conference venue presenting a
diverse range of art, music, theatre, dance, films and education events. In the last decade, the Barbican Art Centre has undergone a radical transformation bringing all the art forms
under one roof and finally fulfilling its true potential, to present wide-ranging international programme and multi-arts festivals, which break down the traditional art form bounda-
ries. Now the Barbican Art Centre is not only a charming and unique art space but also a powerful art brand. ----------
巴比肯藝術中心坐落在英國倫敦的市中心，它是目前歐洲最大的多媒體藝術中心，中心包括了當代 繪畫、電影、試驗音樂、交響樂、歌劇以及舞蹈等眾多藝術形式。巴比肯藝術中心建立29年以來， 堅持一條兼容並包、海納百川的發展路線，依靠一支嚴謹高效的管理團隊，將巴比肯藝術中心建 設成為了一個散發著獨特藝術魅力和強大影響力的藝術品牌，來自世界各地的各種不同的藝術形 式和藝術作品都在這裡呈現給大家，給觀眾帶來前所未有的藝術震撼。
SPECIAL FEATURE
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Data of the Barbican Art Centre
巴比肯藝 術中心 基 本情 況
The Centre comprises the 1,949 seat Barbican Hall, the 1,166-seat Barbican Theatre,
中心包括1949個座位的巴比肯音樂大廳，1166個座位的巴比
gallery; The Curve, 4,645m2 of foyers and public spaces, the Lakeside Terrace, a
的巴比坎藝術畫廊，外加一個曲形畫廊The Curve ，4645平米
the 200-seat Pit theatre, 3 cinemas, the 1,393 m2 Barbican Art Gallery, a second
roof-top tropical conservatory, 7 conference suites, 2 trade exhibition halls, private function rooms and 3 restaurants.
坎劇院，200個座位的階梯形劇場，3個電影放映廳，1393平米 的公共休息空間，還有一個熱帶植物園，7個會議廳，2個商業 展覽大廳，以及3家餐廳。
A Phoenix from the Ashes
鳳 凰涅 磐
The Barbican has a history almost as old as London itself. It was first built by the Ro-
巴比肯地區的歷史和整個倫敦的歷史一樣久遠，從歷史上
in the area of the city just south of the Barbican, lived Martin Frobisher, Lancelot
地區當時4/5人口的生命，在倫敦大火中這個區域也是受災
man invaders to protect what was for them a new settlement by the river. Within, Andrews and Thomas More. The area of Cripplegate beyond the wall was in
comparison considered to be insalubrious and incommodious. In the 16th century it became the natural home for thieves and receivers of stolen goods. It was a
microcosm of Elizabethan ‘low life’ and became the haven for nonconformists of
every description. It was also a home for actors. William Shakespeare lived here at the corner of Monkwell Street and Silver Street. Ben Johnson lived for a period in the Parish of St. Giles. Grub Street was perhaps the most famous of the Barbican
streets, and it has remained in the popular imagination ever since it was described by Samuel Johnson as ‘much inhabited by writers of small histories, dictionaries and temporary poems.
The Barbican, a populous and ramshackle area, was bound to be a victim of all
就是多災多難一個地區，曾經歷史上的黑死病奪走了這個 最為嚴重的地區，最為徹底的就算是第二次世界大戰了，在 德軍的狂轟亂炸之下，除了附近的聖保羅大教堂神奇的幸 免遇難，其余周圍的建築均被夷為平地，直到1951年，在巴 比肯地區都很少有人居住。雖然巴比肯地區的歷史一直伴 隨著磨難但是這個地區卻從歷史上就一直有與藝術聯姻的 淵源，因為這個地區歷史以來就是人口稠密且混亂不堪，於 是就成了哪些不能容於道德和普遍社會規範的那些異教徒 的聚居地，很多演員、詩人，小說家，劇作家都曾經在這個 地區居住過，最為著名的應該就算是偉大的劇作家威廉・ 莎士比亞了。 直到60年代，在整個西方世界經濟開始復蘇的時刻，藝術 領域也充滿了新的試驗和探索，在這樣的背景之下，建立巴
Outside view of Barbican Art Centre
巴比 肯 藝 術 中 心 室 外 景 觀
比肯藝術中心的提議誕生了，整個計劃一波三折，直到1971年，巴 比肯中心才正式破土動工，經過11年的建設，中心於1982年3月3
epidemic disorders that swept across the city. The Great Plague killed some
日由英國女王剪彩正式用。就這樣，一個獨特的集中了住宅、藝術
Smithfield. It slowly grew more ruinous and dilapidated and then in the 20th
的具有“野獸派”視覺風格的建築群落誕生在這片曾經二戰遺留下
8,000 out of a population of 11,000 and the Great Fire swept as far north as
學校、藝術畫廊、劇院、電影院、人工湖泊、植物園等設施的龐大
century was destroyed by German.
來的焦土之上。
By 1951 only 58 people lived in the entire ward. Only in 1952 did plans for
經過了29年的輝煌歷程，巴比肯中心已經成為了歐洲最大最為活
and of writers as well as the home of vice, disease and fire. It has been an
世界範圍內的各種各樣的藝術門類都集中在同一個屋檐下。”而且
legendary Phoenix, the Barbican rose from the ashes. The idea of the centre
踐著他們的信念，通過具有國際視角的專業策展團隊，他們完成
exciting time for the arts. New architectural styles were emerging, including
現在觀眾面前，你可以欣賞到倫敦交響樂隊演奏的莫紮特的經典
centre grew organically – for example, what was originally intended to be a
可以在這裏欣賞到大眾流行的哈裏波特系列電影，也同樣可以欣
redevelopment begin. So the Barbican has been a neighborhood of actors
躍的多媒體藝術中心，他們一直堅持一個獨特的藝術理念--“將全
asylum for refugees and outcasts. It has, in a word, been London. Like the
最為難能可貴的是，巴比肯中心確實以它的實際行動來證明和實
was born in the 1960s, an era of renewed optimism and fresh ideas, and an
了許多難以想象和繁瑣異常的工作，將全世界的各種藝術形式展
the ‘brutalism’ that characterizes the Barbican as a whole. The concept of the
作品，同時也可以欣賞到來自非洲土著部落帶來的原始音樂；你
small recital room evolved into the large Barbican Hall we have today.
賞到來自巴基斯坦的影像試驗作品。
The construction did not begin in earnest until 1971. Indeed, it came close to
正如巴比坎藝術中心總經理尼古拉斯・凱尼恩先生所說的：“我希望
its longest sitting on record deciding whether or not to proceed with the
冒險的地方，它所具有的魅力將沖破一切桎梏遠播各處，不論你是在
to design the residential areas. While they produced an interesting plan, it be-
的藝術家夥伴們一直在致力於把最新的藝術介紹給你，震撼和挑戰
a theatre or concert hall. Their proposals for the cinema included placing the
的時代。”
not happening at all. The City of London’s Court of Common Council spent
巴比坎中心可以成為倫敦跳躍的心臟，一個刺激，新鮮並且充滿著
project. The architects, Chamberlin, Powell and Bon, were appointed initially
倫敦工作，生活還是短暫的來訪，我想你都會發現巴比坎中心和它
came apparent that they had never before designed even a cinema, let alone
你的感官，使你感受到偉大的藝術時時刻刻沖擊著你的生活和我們
screen on the ceiling and having the first few rows of the audience lying on
their backs on what looked like a series of beds. The final cost of building the centre was £156 million; to build it today would require a staggering £500 million.
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Barbican Art Gallery
巴比肯藝 術畫 廊
In 1999, under the direction of John Tusa and Graham
巴比肯藝術畫廊位於巴比肯中心的第三層，1999年，視覺藝術被充分的
Barbican Centre. As well as demonstrating its increasing
視覺作品展示的畫廊，使其適用於展示攝影，建築，以及多重學科的陳列
Sheffield, the visual arts were fully integrated into the
commitment to contemporary art in the last ten years,
Barbican Art Gallery (BAG) has also carved a distinct identity
融合入巴比肯藝術中心，2004年，巴比肯耗資一百萬英鎊用於裝修用於 和展示。
through its programming of innovative architecture, design
所有在巴比肯藝術畫廊展出的展覽，都是經過巴比肯藝術中心精心
international touring programme. Today, Barbican exhibi-
平應該是在倫敦數一數二的，甚至超過泰特當代美術館的布展水平，
and photography exhibitions. 2000 saw the launch of BAG’s tions travel the world, from Beijing to Bristol, Chongching
to Chicago, taking a unique range of exhibitions to a global audience.
The curating team uses their talent to set up every exhibition to create a fantastic experience to audiences, such as
the exhibition of The House of Viktor and Rolf, they built a
huge doll house to display the designers’ works. Around every exhibition, there are many talks and events, which related to
it aim to help audiences to understand of the conversation of the exhibition.
From the 1999, the Barbican has paid more attention on the
international contemporary art, and the Barbican Art Gallery presents major exhibitions by leading international figures, from acclaimed architects, to Turner prize-winning artists.
策劃的精致展覽，單單從整體的布展水平來說，巴比肯中心的布展水 每次在中心展出的展覽，都可以看出策展團隊精心策劃和別具匠心的 展覽安排，各種細節體現出的不僅僅是高水平國際合作的效率和默契 和諧程度，同時體現著精益求精的專業精神，對於每個展覽，都配以 大量的教育講座活動，邀請著名藝術家和批評家為觀眾講解展覽的 時代背景或專業知識，另外每個展覽也會配以大量的文字介紹以及 畫冊，引導觀眾更好的理解展覽的主題和更好的欣賞作品，甚至可以 說，展覽本身和作品本身只是作為一個線索和引導，而圍繞展覽所開 展的活動和講座才是構成整個展覽的主要組成部分。 自從1999年以來，巴比肯中心開始註重當代視覺藝術的引入以來，在巴 比肯藝術畫廊已經展出了很多世界各地優秀藝術家的作品，他們大多是 在一個新的主題和新的背景之下來選擇藝術家以及他們的作品，從一個 新的角度展示給觀眾，不得不說，巴比肯中心所作出的改變是極其成功 的，在近10年來，它把眾多的優秀藝術作品和展覽引進英國，讓不論在此 學習或者生活，或者只是短暫遊覽的人們都可以欣賞到來自世界最為前 衛的藝術作品。
C o r y Ar c a n ge l B e a t t h e C h a mp
ⒸEliot Wyman.
Curve Art Space
巴比肯曲形空間
Curve Art was launched in 2006 with a programme of
1999年曲形空間，半圓形的100米長的展線，成為巴比肯中
contemporary artists in response to The Curve’s distinctive
作品一般都是目前最為活躍的來自世界各地的藝術家的個
new commissions conceived by international
interior, an unusual 100 metre long semicircular space that wraps around the concert hall.
On 2008, Chinese artist Huang Yongping was invited
to create works for the curve space, that exhibition was Huang’s first solo show in London. He created a new
installation that explored the complex imperial history
between Britain and China in the 19th century, focusing
on the Opium Wars. The exhibition took its title Frolic from the name of a ship built to transport goods between
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心的第二畫廊空間。在這個較為怪異的展示空間裡展示的 人展覽，很多都是巴比肯藝術中心邀請藝術家為這個空間 量身定制獨特的藝術展覽，同樣，藝術家們也把在這個獨特 空間進行展示的機會作為展示自己創作才華的最佳舞臺， 展廳中從天花板到墻壁再到地板，都成了藝術家揮灑創作 激情的戰場，在此展出的每一個展覽都給人以無比的震撼 和沖擊。 在2008年，中國藝術家黃永 砯 曾經受邀請來到巴比肯曲形 空間創作作品，那也是他第一次在英國倫敦舉辦的個人作 品展。黃永 砯 深受西方藝術影響，尤其是達達主義的影響，
British India, China and Great Britain, and as such serves as an allegory for modern-day global capitalism.
The current exhibition is the work of American artist Cory
Arcangel, one of the leading media artists of his generation.
He often appropriates, manipulates and subverts new media, including video games, computer software and the inter-
他的作品多為大型的裝置藝術品和雕塑作品，他運用當 代西方藝術概念和語言來闡釋和體現東方傳統美學與 哲學命題，自從1989年之後，黃永 砯 移居法國巴黎，在 法國進行藝術創作期間，其著重探討文化差異、身份認 同、和殖民主義等歷史主題，並對其進行思考和批判。 黃永 砯 的展覽只是在曲形空間的一個比較典型的，個
net. Arcangel’s project for The Curve, a co-commission with
人風格獨特的展覽範例，更多的藝術家包括光學藝術、
14 bowling video games from the 1970s to the 2000s. Using
他們與眾不同的藝術作品，同樣，巴比肯藝術中心始終
Whitney Museum of American Art, is an installation featuring custom manufactured electronics, Arcangel has hacked each
unit to play a loop of a game in which the bowler fails to score. Presented chronologically, the games collectively create a
試驗影像藝術等領域的藝術家都利用這個空間來展示 都是給與藝術家最為開放、便利的條件幫助他們把不同 的藝術呈現給廣大觀眾，並引領觀眾走入藝術的世界。
collage of sound from the abstract static of Atari to Nintendo’s
當下正在進行的展覽是美國傑出多媒體藝術家Cory
sounds of recent PlayStation consoles. Arcangel also dis-
14個保齡球電子遊戲組成的，他選取了從1970年到
bleeps and bloops to the more realistic simulation of bowling plays the video game console themselves, each with a small
computer chip attached, flickering at one end of the darkened gallery. Arcangel’s digital interventions are particularly relevant in an age where technology is ever more important. Often
brightly coloured and at first glance uncomplicated, his works consistently question the relationships between contemporary culture, art and technology. Tips
小貼示
Barbican Art Gallery opening time
巴比肯藝術畫廊開放時間
Tue & Wed: 11.00am – 6.00pm
周二、周三：11. 00am – 6. 0 0 pm
Daily: 11.00am – 8.00pm
Barbican Art Gallery is open late every Thu until 10pm.
周一、五、六、日：11. 00am – 8 .0 0 pm 周四：11. 00am – 10. 00pm
The Curve Opening Hours
曲形空間開放時間
Thu until 10pm.
周四：11. 00am – 10. 00pm
Daily 11.00am – 8.00pm
每日：11. 00am– 8. 00pm
Arcangel的作品，他這次為曲形空間制作的作品是由
Th e Ho u s e o f V i kto r & R o l f E x h i b i ti o n
2000年來出現的14款保齡球電子遊戲，一方面體現了 和藝術家同齡時代的時代特色，同時也體現了科技在 這30年間的巨大飛躍和對人們日常生活產生的巨大影 響。作為當下最具代表性的多媒體藝術家，Cory Arcangel認為日新月異的科技對當下大眾生活的影響超越了 以往任何一個時代，他始終不渝地探討關於科技， 生 活，當代文化與當代藝術之間的相互關系。
Barbican Art Centre Curve Art Space
巴比肯曲形空間
Some Comments
一 些評論
‘A building where there is always something rich and strange going on.’ The Guardian
衛報：“巴比肯藝術中心總是帶給我們豐富精彩
‘Today, the Barbican must rank as the world’s top arts centre, easily outclassing the Lincoln
Centre in New York for adventurous programming and sustained quality.’ Richard Morrison, The Times
Sir Nicholas Kenyon, Managing Director: “I want the Barbican to be the beating heart of the
City of London, a place of stimulation, refreshment, and adventure which reaches out beyond the confines of its walls to involve those within the Square Mile and far beyond. “
“As London looks east in the years to the Olympics of 2012, there is a huge opportunity for the Barbican, the City and the arts. Thanks to the constant support of the City of London Corpora-
的特別體驗。” 泰晤士報：”今天的巴比肯藝術中心已經成為世 界頂尖的藝術中心，其獨有的冒險精神和持續 的卓越質量大大超過了紐約的林肯藝術中心。” 巴比肯中心執行總監： “我希望巴比肯中心成 為倫敦中心一顆具有勃勃生機的心臟，將更 多的新鮮事物，激情和冒險精神帶入我們的生 活。”
tion and our other funders, sponsors and donors, we can insure that the place of culture dur-
“2012年的倫敦奧運會為這座城市帶來了新的機
and skills emerging in a new generation of creative artists and performers: let’s make the most
們，我們將與新一代的藝術家和創意天才們共同
ing that important period is both recognised and celebrated. There are extraordinary talents of them, support them, and make the arts flourish! “
遇，感謝那些一直以來給予我們幫助和支持的人 創造，讓我們的藝術更加繁榮。”
THE STAR OF THE SOUTHBANK
HAYWARD GALLERY 南岸之星
海沃德畫廊 WRITTEN 撰文 x HARRY 劉競晨
PHOTOGRAPHY 攝影 x MARGARITA MONER LOPEZ, MEI LI 李梅, JINGWEI ZHANG 張婧威
BY COURTESY OF 圖片提供 x HAYWARD GALLERY 海沃德畫廊
Outside view of
Hayward Gallery 海沃德画廊外景
SPECIAL FEATURE
The Hayward Gallery is an art gallery within the Southbank Centre, part of an area of major arts venues on the South Bank of the River
Thames, in central London, England. It is sited adjacent to the other Southbank Centre buildings (the Royal Festival Hall and the Queen Elizabeth Hall/Purcell Room) and also the Royal National Theatre and British Film Institute. Now, Hayward Gallery is one of London’s most important spaces for displaying contemporary art and which has organized many blockbuster exhibitions. ----------
位於倫敦市中心泰晤士河南岸的海沃德畫廊（Hayward Gallery）是南岸藝術中心 (The South Bank Centre)的重要組成部分。這個占地近11公頃的藝術機構 群落包括了皇家節日大廳 (Royal Festival Hall),伊麗莎白女皇大廳 (Queen Elizabeth Hall), 皇家大劇院 (Royal National Theatre), 英國電影研究院 (British Film Institute) 還有本文將要著重介紹的海沃德畫廊（Hayward Gallery）。海沃德畫廊現在是倫敦最為重要的當代藝術展示場地之一，他將藝術的學術性和娛樂 性融為一體，每年都有數以百萬計的觀眾前來參觀。
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Melting Aart with Fun
融化在藝術與歡樂之中
Hayward Gallery is a magical space, which immediately evokes the love of art
海沃德畫廊是個神奇的地方，它可以喚起人們對藝術的熱
comes to their mind is a vivid and clear picture of a place where you can
澀難懂的名詞，也不是那些看不明白的古怪物件兒，而是
when you visit it. And if you mention the Hayward Gallery to people, what playfully immerse in the fantastic world of art.
愛。提到海沃德畫廊，人們腦海中呈現的景象不是那些晦 一幅幅生動活潑的畫面—沈浸在奇幻的藝術世界的愉悅。
The most distinctive feature of Hayward Gallery，which is quite different from
海沃德畫廊舉辦的展覽不同於其他展館的最大特色就是它
Most of the exhibitions of the Hayward Gallery allow the audience to directly
使得前來參觀的觀眾能從各個角度與藝術作品產生互動，
other art organizations, is that its exhibitions combine art with entertainment.
interact with the art works and view them from very different angles. This helps to build up a special relation between audiences and the exhibited works. For
example, in 2008 the exhibition “Psycho Buildings” brought together the work
of artists who created habitat-like structures and architectural environments that were perceptual and physical spaces as much as psychological ones. People immersed in different atmospheric, enthralling and unsettling installations
that redefined the way that we relate to our surroundings. Visitors became
獨具匠心的將展覽的藝術性和娛樂性最大化的結合起來， 從而拉近了藝術作品與觀眾的距離，枯燥晦澀的文字闡釋 在這裡失去了意義，取而代之的是藝術的體驗和心靈的震 撼。比如在海沃德畫廊成立40周年舉辦的展覽“瘋子建築” （Psycho Buildings)就是一個很好的例子，藝術家們通過 為海沃德畫廊量身定做的作品營造了一個如夢如幻的境 域，讓觀眾在潛移默化中感受到藝術的感染力，同時正 向海沃德畫廊總監拉夫 · 洛戈夫（ Ralph Rugoff ）說得那
an adventurous participant by exploring the Hayward Gallery’s spaces, which
樣，“海沃德的展覽向全世界展示了我們畫廊是怎樣一個讓
village of over 200 dollhouses, a floating plastic cloud and a skyline boating
月中旬，適逢威廉王子大婚之前，海沃德舉辦了一個名為“
exhibition said that ‘The extraordinary international artistic response to Psycho
中不乏惡搞和諷刺的作品，表達了英國廣大民眾對英國君
included a room that seemed frozen in a moment of explosive disaster, an eerie
人興奮而且好玩，充滿無限可能的空間。”此外，在今年3
pond. Ralph Rugoff，Director of the Hayward Gallery and curator of the
皇家生活”的展覽，展出了很多和皇室相關的藝術作品，其
Buildings shows just how challenging, exciting and playful The Hayward can be.’
主立憲制度和皇室扮演的社會角色變化的大討論。
SPECIAL FEATURE
Hayward Gallery Library
海沃德圖書館
The Hayward Gallery Library is a small reference library, which is
在海沃德畫廊裡面，還有一個不為外人熟知的小
contemporary material on artists, exhibitions, architecture,
是大英藝術委員會在1940年創建的視覺藝術圖書
reflecting the research needs of the exhibition curators, acquires photography and art critical theory. The emphasis of the library is on modern and contemporary art, also, there is a small quantity of historic material. The library is able to offer public access as a last resource reference library for consultation by appointment only. The library catalogue is accessible online for staff and will shortly be accessible on the web.
圖書館，這個圖書館雖小，歷史卻很久遠，最早 館，後來在1987年成為現在的海沃德圖書館。這 個圖書館的主要用途是為展覽策展人和藝術研究 人員提供資料，包括了當代的藝術家、展覽、建 築、攝影和相關藝術批評理論。不過，這個小圖 書館必須要提前預約才能進入。
Tips
小貼示
Library Collections 20,000 books and exhibition catalogues;
46 periodical titles; 1942-1993 Core archive
collection of own exhibition publications, Arts
Council of Great Britain, Arts Council Collection; Hayward Touring Exhibitions and the Hayward Gallery art exhibition catalogues to date;
Archive collection of posters, press reviews, exhibition ephemera. 圖書館主要館藏 2 0，0 0 0 本 圖 書 和 畫 冊 ; 4 6種 視 覺 藝 術 期 刊 ;
Night view of
1 94 2 － 1 993 年 的 大 英 藝 術委員會 出 版 物 ;
Hayward Gallery
海 沃 德 畫 廊 展 覽 畫 冊 及 資 料 ，包 括 展 覽 評 論 ，海 報 ，
海 沃 德 画 廊 夜景
照片及 影 像 等。
Juggla, 2007 R o bi n R h o de
068/069
BRITISH ART SHOW 7 In the Days of the Comet The British Art Show is widely recognised as the most ambitious and influential exhibition of contemporary British art. It takes
place every five years and tours to four different cities across the UK. Now in its seventh incarnation the British Art Show opens in Nottingham, and tours for the first time in 20 years to the
Hayward Gallery, followed by venues in Glasgow and Plymouth. It is curated by Lisa Le Feuvre and Tom Morton.
The 39 selected artists have been chosen on the grounds of their significant contribution to contemporary art in the last five years. All artworks included have been produced since
2005 and encompass sculpture, painting, installation, drawing, photography, film, video and performance, with many artists
creating new works especially for the exhibition. British Art Show 7 will mark a change in direction from previous years, moving
away from the model of a survey show to an exhibition with a marked curatorial focus.
Subtitled In the Days of the Comet, British Art Show 7 employs the motif of the comet to explore and draw together a set of concerns that thread their way through the practices of the
selected artists. Here the comet alludes to the measuring of time, to historical recurrence, and to parallel worlds. Comets are also
commonly understood as harbingers of change, and fittingly the exhibition will evolve as it moves from city to city, revealing new works at different venues, creating a unique exhibition in each host city.
R o g e r Hi o r n s U n ti tl e d
Work of
C h ar l e s A v e r y
Ste v e n C l aydo n U n ti tl e d
SPECIAL FEATURE
第七屆英國藝術展－在彗星上的日子 每五年舉辦一次的英國藝術展(British Art Show)被廣泛的認定是最雄心 勃勃並最有影響力的英國當代藝術展之一。今年的英國藝術展在伯明翰 開展，隨後在倫敦的海沃德畫廊進行巡展，這也是20年來海沃德首次和 這個展覽項目進行合作。在結束倫敦的巡展後，展覽將到格拉斯哥和普 利茅斯進行展出。 此次參展的39名藝術家都在過去的五年裡為當代藝術的發展作出了重要 的貢獻。所有參展的藝術作品都是從2005年以來創作的，包括雕塑、 油畫、裝置、繪畫、攝影、電影、影像及行為藝術作品，而且很多參展 藝術家專門為此次展覽量身定做了新的作品。而且，此次展覽從策展方 向上也異於往年，今年的展覽更多的將展覽中心聚焦在特定的主題和語 境之內。 這次展覽名為“在彗星的日子”(In The Days of The Comet),“彗星”作為展 覽的主題,象征著一種對改變的預示、一次對平行世界的探索、一項對時 間的測量和一個對真實和想象歷史重演的標記。參展的作品以不同的形 式呈現了藝術家對“此時此刻”的思考和我們對於“當下”的理解。同時,隨 著展覽巡回於各地,舉辦方希望“彗星”作為一個持續運行的載體,將此概念 繼續溶解、擴散、消化於每個展出的城市。
Tips
小貼示
Something about its history The Hayward Gallery is named after Sir Isaac Hayward, the then leader of the London County Council. On July 9th 1968, the Hayward Gallery was
opened by the Queen and its first exhibition was a major retrospective of the paintings of Henri Matisse. 海沃德畫廊名字的由來 海沃德畫廊成立至今已經經歷了43個春秋，1968的7月9日，英國女王陛下為其開幕式 剪裁揭開了它近半個世紀的風雨歷程。海沃德畫廊的名字是為了紀念當時的倫敦郡地 方議會長艾薩克海沃德爵士（ Sir Isaac Hayward ），當年海沃德的開館展是亨利·馬蒂 斯的繪畫作品回顧展。
National Gallery is located in the north of Trafalgar Square, London. Now it is one of the most important art Museums in the world and houses a collection of over
2,300 paintings dating from the mid-13th century to 1900. Unlike the Tate Modern, The National Gallery focuses on the traditional collections of works before the 20th century. The National Gallery was founded in 1824 and now it is as famous as the Louvre in Paris, Madrid Prado Museum. ----------
坐落於倫敦市中心特拉法加廣場北側的英國國家藝廊是英國最為重要的藝術博物館，其中 收藏了從13世紀至19世紀多達2300件的繪畫作品，和泰特當代美術館（Tate Modern）不同 的是，國家藝廊側重於傳統繪畫及20世紀之前的作品收藏和整理。這座建立於1824年的美術 館憑借其收藏的西歐早期繪畫大使們的傑出作品而成為了與巴黎盧浮宮，馬德裏普拉多美術 館相齊名的重要藝術博物館。
SPECIAL FEATURE
NATIONAL GALLERY
GALLERY FOR ALL PUBLIC
英國國家藝廊 公眾的美術館 WRITTEN 撰文 x FAN ZHANG 張凡
PHOTOGRAPHY 攝影 x MEI LI 李梅
BY COURTESY OF 圖片提供 x NATIONAL GALLERY 英国国家画廊
Outside view of
National Gallery 英国国家画廊外景
History The National Gallery collection was founded from the beginning
of 1824 with £57,000, which was from an unexpected repayment
歷史
Angerstein’s collection, which numbered 38 paintings, including
國家畫廊的基礎館藏從1824年的57,000英鎊開始，這筆不期而至的款項
of a war debt by Austria. The British government bought
works by Raphael and Hogarth’s Marriage à-la-mode series.
Those collections were opened to the public on the 10 May 1824, housed in Angerstein’s former townhouse on No. 100 Pall Mall. The National Gallery at Pall Mall was frequently overcrowded
and hot, and its diminutive size, in comparison with the Louvre
in Paris, was the cause of national embarrassment. But Agar Ellis, now a trustee of the Gallery, appraised the site for being “in the very gangway of London”; this was seen as necessary for the
Gallery to fulfill its social purpose. Subsidence in No. 100 caused
the Gallery to move briefly to No. 105 Pall Mall, which the novelist Anthony Trollope described as a “dingy, dull, narrow house, illadapted for the exhibition of the treasures it held.” This in turn
had to be demolished for the opening of a road to Carlton House Terrace.
是奧地利支付給英國的戰爭債務，當時的英國議會下院批準這筆撥款， 用於從俄羅斯的一位銀行家手中購買38幅作品，由此開始了國家畫廊收 藏之路。這些館藏，在被收購的那一年就已直接面向公眾展出，展覽地點 位於帕瑪街，就是出售它們的前任主人的住宅。隨著藏品的增加、公眾的 批評，甚至媒體的嘲弄，1831年，議會決定為這個規模越來越龐大的國家 級美術館專門修建一棟大樓，選址特拉法爾加廣場。把美術館建於倫敦 中心地帶，充分體現了創始人“通過博物館來教化公眾”的決心，無論是來 自倫敦西部的富人，還是住在倫敦東部的貧民，甚至只是路過這裏的觀光 客，都可以非常方便地進入參觀。經過7年的修建，時至1838年，維多利亞 女王親自主持了國家畫廊新樓的開館儀式，當時它還和皇家藝術學院共 用這座建築，國家畫廊在西側翼樓，皇家藝術學院占據東側翼樓，直至其 1868年遷出。 為了保證充足的展覽空間，從落成至今，國家畫廊一直在斷斷續續地擴
In 1832 construction began on a new building by William Wilkins on the site of the King’s Mews in Charing Cross, in an area that had been transformed over the 1820s into Trafalgar Square.
The location was a significant one, between the wealthy West
建，其中比較主要的工程共有5次。在最初的國家畫廊落成後不久，因為威 廉·威爾金斯最初設計的大樓遭到公眾批評，建築師E·M·巴裏在1872年受 命制定重建方案，經過討論後，決定保留已有建築，再新建一處翼樓，增加 了一系列展廳。1907年至1911年，因為西側翼樓被兵營征用的原因，國家 畫廊又為不斷增加的畫作收藏增建了5個展廳的新空間。經過一戰與二戰 時期的蕭條，國家畫廊於1970年起再次大興土木，雖然新建的北側翼樓 因風格太過現代而不受歡迎，但在實際應用上，卻使美術館的面積增加了 25%，新館包括9個大型展廳和3個小型展廳。1991年，國家畫廊新修建了
SPECIAL FEATURE
End and poorer areas to the east. The
argument that people of all social classes Admiral Horatio
could access the collection outstripped
Fourth Plinth
central London or the failings of Wilkins’s
Nelson’s flagship on
other concerns, such as the pollution of building, when the prospect of a move
to South Kensington was mooted in the 1850s. According to the Parliamentary Outside view of
National Gallery 英 国 国家画廊外景
Commission of 1857, “The existence of
the pictures is not the end purpose of the
collection, but the means only to give the people an ennobling enjoyment.” The
eastern half of the building housed the
Royal Academy until 1868, which further diminished the space afforded to the Van Gogh- Sunflower
Gallery.
梵 高《向日葵》
翼樓，專門展出文藝復興初期的全部館藏，這座 嶄新建築依據其捐資人的姓氏，被命名為“塞恩 斯伯裏翼樓”。國家畫廊最近一次的大力度整修 開始於2003年，為了配合特拉法爾加廣場新建 Rembrandt-self-
的步行區，其主樓入口首次與公共街道齊平，在
portrait at 34
這一次的開發中，新建了多媒體區、商店、餐館
倫伯朗《34歲的自畫像》
和咖啡廳等觀眾服務設施，中央大廳也被設為 展廳，展出館藏中最重要的作品，擴大了作品的 懸掛空間，讓初來乍到的觀眾，一進門就能看到 提香及同時期其他藝術家的偉大畫作。
Funding Fundraising is a key issue for all of the Museums, the National Gallery has had much major expenditure, such as collection
storage, exhibition costs, study of the collection and so on. How to obtain sufficient funding to maintain operations and how to improve the collections are the questions which The National
Gallery have had to face. In the National Gallery’s collection, the
proportion of individuals’ donation is close to 25%, which means that National Gallery continually increases its collections outside the national grants.
資金 國家畫廊的主要開支，用於藏品保管、藏品使用、展覽花費和藏品研究等幾 個方面，如何獲得足够的資助來維持運營，和怎樣通過收購來保證藏品的 活力，是每一間國家級美術館都要面臨的重大問題。在國家畫廊的收藏中， 個人捐贈或遺贈所占比例接近四分之一，使其在國家劃撥的補助金之外， 還能不斷增加優質藏品。在國家畫廊的發展歷史上，1903年成立的藝術基 金會為其做出了很大的貢獻，它的宗旨就是幫助英國國內的博物館和美術 館收購藝術作品，如1905年，它籌資45,000英鎊幫助國家畫廊收購貝拉斯 克斯的《鏡中的維納斯》。私人捐助方面，1923年，塞繆爾·考陶爾德捐出5萬 英鎊，用於英國國家藏館購買印象派和後印象派作品，國家畫廊收藏的核 心作品之一，梵高的《向日葵》便是用這筆捐資收購的。1985年，慈善家小J· 保羅·格蒂設立了一個捐資基金會，它的主要目的便是幫助這一間國家美術 館收購更多的藝術品。
Organisation The Gallery is governed by the Board of Trustees who are
appointed by the Prime Minister. The Director and Executive
Committee represent 19 departments, covering all aspects of the Gallery’s work. The National Gallery employs over 600 staff in a wide range of capacities to care for the collection.
組織結構 在經營方面，國家畫廊由英國首相認命的托管理事會負責管理。這是一個 獨立的組織，托管人需要擁有廣博的專業知識。為了日常運營的順暢，國 家畫廊還有超過600名的職員負責藏品的保管、研究、展示、宣傳、觀眾服 務與公共教育等工作。為了保證珍貴的藏品可以得到最好的保護，1946 年，國家畫廊成立了一個內部的藏品保護部，在過去的數年之間，這個部 門率先采用多項新技術來精確控制美術館的環境，做出防止作品變質的 處理，時至今日，很多技術已經發展成了行業標準。
SPECIAL FEATURE
Collections
特色展品
The National Gallery collects paintings from
國家畫廊收藏的畫作來自歐洲各地，涵蓋了13世紀至20世紀早期的所有
to early 20th century all the arts period, from
可以毫不誇張地說，西歐最傑出的藝術畫作，國家畫廊都有所收藏。
all over Europe, covering the 13th century decorative paintings from the altar, Old
Master portraits and Impressionist paintings.
Julius II, pop
拉斐尔《教 皇 朱 利 阿斯二 世》
1250年~1500年。1991年建成的塞恩斯伯裏翼樓，拱門和墻壁采用深灰
art paintings in Western Europe.
的教堂遺風，陳列其中的，正是國家畫廊收藏中的重頭戲，文藝復興時期
1250－1500. Piero della Francesca - Baptism of Christ; Sandro Botticelli - Venus and Mars.
Venus and Mars 波提切 利
《維納 斯 与 馬 尔 斯》
色的石材和白石膏為建築材料，素雅的環境帶有佛羅倫薩文藝復興時期
的意大利畫作。這裏的眾多古老藏品，都帶有濃厚的宗教色彩，例如佛朗 西斯卡的《基督受洗》和波提切利的《維納斯與馬爾斯》。 1500年~1600年。這一時期包括畫壇三傑達芬奇、米開朗基羅和拉斐爾，
1500－1600. Leonardo da Vinci - Madonna
以及風格活潑的威尼斯藝術家，還有亨利八世時開始的宮廷肖像畫創作。
Raffaello Sanzio - Julius II, Pope
色彩而非線條的處理。國家畫廊的收藏，包括達芬奇的《巖間聖母》、米開
of the Rocks; Michelangelo – Entombment ;
Sandro Botticelli -
按藏品的年代分類，國家畫廊的畫作主要可以分為以下四個階段：
It is no exaggeration to say that the National
Gallery has the most outstanding collection of
Raffaello Sanzio-
藝術時期。從祭壇裝飾畫、早期繪畫大師的肖像畫，到印象派的油畫速寫，
1600－1700. Rembrandt - Self-portrait at 34,63
1700－1940. Van Gogh - Sunflower
相比之下，畫壇三傑的畫作重視草圖和計算，而威尼斯的藝術家們側重於 朗基羅的《埋葬基督》和拉斐爾的《教皇朱利阿斯二世》等名作，此外，提香 的《酒神與阿麗亞德尼》堪稱國家畫廊中色彩最鮮艷的作品，在此之前，從 沒有過如此生動活潑的非宗教神話畫作。 1600年~1700年。在這一百年中，藝術呈現爆發式的發展。國家畫廊北翼 收藏的荷蘭畫作，顯著地表現了當時新教興起的影響。很多的城市景觀畫
不斷湧現，如克伊普的《騎士、農人、河岸風光》，用牛、女工、獵人和騎士， 取代了聖人而占據畫面。此外，國家畫廊還有多幅倫伯朗的精品，包括《34 歲的自畫像》、 《63歲的自畫像》等，這兩幅自畫像把他不同時代的不同心 境描繪得淋漓盡致，在創作上相隔20年，國家畫廊通過10年的時間把這兩 幅畫像湊到一起，由此可以窺探到管理者的良苦用心。 1700年~20世紀。這一時期的作品裏，宗教主題占據的比重越來越小，世 俗題材成了市場的主導。從洛可可風格，到新古典主義、浪漫主義和印象
派，繪畫的風格在傳承的基礎上不斷創新。在國家畫廊關於這一時期的展 廳中，畫作不再充斥著意大利與荷蘭的作品，英國和法國的畫作逐漸成為 主流。梵高的《向日葵》、莫奈的《格爾奴葉的浴者》等作品，都是觀眾進入 國家畫廊參觀時的必看精品；雖然後來建成的泰特美術館陳列著大部分 的英國美術作品，但國家畫廊還是精中選精地留下了一些英國畫派的傑 出作品，如康泰斯布爾的《玉米田》。
Tips
小貼示
Opening time
Daily 10am – 6pm,
Fridays 10am – 9pm 開放時間 每日10am – 6pm， 周五10am – 9pm
1. 關 於 建 築：因 為預 算太高，國家 畫 廊主樓 的 第一 位 設 計 師 威爾金斯，被 要求使 用從喬治四世住宅卡爾頓 莊園中拆除的 立柱，和大理石凱旋門剩下的雕塑作品。 2. 二 戰 期間，國家畫 廊曾轉 移藏品並閉館。雖然 在宣戰 的前 一天，最後 一批 藏品才撤 離 館內，也曾有提議 將 藏品轉 移到 加拿大，但當時的首相丘吉爾堅定地說“一件也不能離開英倫 群島”。於是大部分的藏品被轉移到威爾士的一處采石場。 3 . 目 前 國 家 畫 廊 大 約 有 2 , 3 0 0 件 以 上 的 藏 品 ，每 年 約 有 4,500,000位觀眾。
WHITECHAPEL GALLERY 開創為本
白教堂美術館 WRITTEN 撰文 x JINGWEI ZHANG 張靖威
BY COURTESY OF 圖片提供 x WHITECHAPEL GALLERY 白教堂美術館
The Whitechapel Gallery, located in the
heart of east London, was founded in 1901.
It was originally funded by the government and built for temporary exhibitions. The
Gallery is a touchstone for contemporary
art internationally and plays a central role in London’s cultural landscape. It is pivotal to the continued growth of the world’s most vibrant contemporary art quarter. ----------
白教堂美術館坐落於倫敦東區的心臟地帶，始建 於1901年。起初是由政府資助，為臨時展覽而建 成的美術館。從建館之初直至今日，它一直在倫敦 的文化、藝術領域乃至前景展望中，扮演着特殊的 角色；也對東倫敦，這一世界上最為活躍的當代藝 術區之一的持續發展，有著重要的作用。
SPECIAL FEATURE
Exhibitions
展覽涵蓋多個領域
In April 2009, Whitechapel Gallery completed an ambitious
2009年4月，白教堂美術館完成了自建館以來的
in size, the expanded Whitechapel Gallery tripled its exhibition
覽的空間擴展到了将近原來的三倍。
expansion for the first time since it was built. Almost doubling space.
The exhibitions in the Whitechapel Gallery contains almost all aspects of contemporary art, such as photography, paintings, films, sculptures or installations. The extended space in the
Whitechapel Gallery opens a new page in its exhibition history. For instance, Chinese artist Huang Xiaopeng showed his moving image works at the Whitechapel gallery during three months. He analysed the relationship between language, technology and politics by using popular figures and concepts in China,
combining them with a set of Chinese characters he had created and then broke this order of the text again. His art implied a
第一次擴館項目，總體面積擴大了兩倍，可供展
美 術 館 的 藝 術 展 歷 來 豐 富，毫 不 吝 嗇 的 涵 蓋了
John Stezaker Love XI, 2006 Collage
Private Collection, Switzerland
當代藝術的方方面面，攝影，繪畫，電影，雕塑， 裝置藝術等等。新擴館後的展覽空間，开启了白 教堂美術館新的展覽史的一頁。 John Stezaker
舉 個 例 子，中 國 藝 術 家 黃 曉 鵬 在白教 堂 的 影 像 短片展持續了三個月。其音像作品通過再創作在 中國當紅的一些熱門元素，與自己創作的文字混 合，再打亂文字本應有的次序，以此探索政治本 身與語言和科技之間的關係。作品犀利，大膽而 誇張。
strong political criticism,which gave this work a daring character.
SPECIAL FEATURE
Mask X, 1982 Collage
Ringier Collection, Switzerland
A Gallery with Many “Firsts”
開創先河的美術館
The Whitechapel Gallery’s history is a history of firsts:
“白教堂美術館的歷史，就是一个匯集了无数个開創先河的展
1939 Guernica, Picasso’s iconic depiction of the horrors of the Spanish
civil war is displayed at the Whitechapel Gallery on its first and only visit to
覽的歷史。”
Britain; 1958 The first major show in Britain of seminal American abstract
1939年，畢加索著名的描述西班牙内戰的大型油画在不列顛
installation of his work at the Whitechapel Gallery becomes his template
十年代轟動藝術界的将波普藝術成功傳播給公众的展覽“這
expressionist Jackson Pollock; 1961 British premier of Mark Rothko – the
for all subsequent shows; 1970 and 1971 First shows of British artists David
Hockney, Gilbert & George and Richard Long; 1982 The Whitechapel Gallery introduces little-known Mexican painter, Frida Kahlo to London audiences; 1993 The Whitechapel Gallery showcases Lucian Freud, one of Britain’s greatest living figurative painters; 2001 and 2002 Liam Gillick and Nan Goldin stage their first major solo shows in the UK.
的首映也是迄今為止唯一一次在英国的展出；到二十世紀六 就是明天”；以及抽象表現主義画家馬克·羅斯科1961年在英 國的首展；再諸如波普藝術的代表人物之一大衛·霍克尼，英國 本土双人藝術家組合吉爾伯特&喬治，藝術家理察德·隆恩，英 國畫家露西安·弗洛伊德這些日後名聲大震的藝術家的個人首 展，均獻給了白教堂美術館。2002年，美國攝影師Nan Goldin 在白教堂舉行了其個人在英國的首個大型展；2008年，英國當 代藝術家珂奈麗雅·帕克與著名語言學家，哲學家諾姆·喬姆斯 基對談的短片，探討藝術如何拯救人類，我們生存的星球的話
Education Projects and
題；2009法國作家，藝術家索菲·卡勒多媒體藝術結合的個人展 也是當時倫敦炙手可熱的展覽之一。
The Whitechapel Gallery Project As a historical and non-for-profit gallery, the education projects and
白教堂美術館的教育及
an exemplary role throughout the UK and the world. Meanwhile, the
其他延伸項目
global network of museums, galleries, educational organizations and
白教堂不光有展覽，作為一個歷史悠久的非營利性的教育慈善
National Portrait Gallery, V&A Museum, British Museum, the Serpentine
項目都在整個英國乃至世界上起到了先鋒模範的作用。就英國
other innovative art projects in the Whitechapel Gallery have played
Whitechapel Gallery Project has built on partnerships with a local and communities. For example, the local art institutions in the UK, such as
Gallery and Tate Modern help develop the education programmes. The
education projects focus on the development around the east London area of Whitechapel.
In addition to Whitechapel Gallery’s touring exhibitions, the Collections and Archive Galleries will build on relationships with regional local authority
機構，其社區教育項目，教育創新及其他在藝術領域內的延伸 本土的美術機構來說，例如著名的國家肖像美術館，V&A博物 館，大不列顛博物館，蛇形畫廊，泰特現代館；每個機構所舉辦 的五花八門的教育項目，均沿襲了白教堂美術館的風格。如今， 白教堂美術館其教育和其他延伸項目更側重與白教堂地區的 地區文化發展。
museums and National and International Collections ranging from
除此之外，白教堂美術館還廣泛的與別的藝術機構、學校有合
Media Comments
媒體評論
‘Whatever the art, the Whitechapel has looked at it freshly and without
“無論什麼藝術形式，白教堂都能以其嶄新獨到的眼光對待，棄
Manchester City Art Gallery to MoMA, from the British Council to the Getty.
prejudice, with spectacular results.’ Mail on Sunday.
The Whitechapel Gallery is ‘the traditional cradle of radical political art,
作關係；例如曼切斯特藝術畫廊，當代藝術博物館等。
除一切偏見，往往能產生超乎平常的結晶。”星期日郵報如此評 論道。
where there are incredible exhibitions, and the critical place for avant-garde
而另一媒體評論道，白教堂是“激進政治藝術的傳統搖籃，在這
‘International in its scope and reputation… of all London’s galleries, it
“白教堂美術館的眼光和聲譽，在所有的倫敦畫廊和藝術館中，
art.’
remains the one that is truly of the people.’ The Financial Times
裡總有酷到無敵的展覽，也是前衛藝術浪潮抨擊的狂野海岸。”
是真正的人民的藝術館”──《金融時報》
080/081
ROYAL ACADEMY OF ARTS 象牙塔尖
英國皇家藝術學院 WRITTEN 撰文 x FAN ZHANG 張凡 BY COURTESY OF 圖片提供 x ROYAL ACADEMY OF ART 英國皇家藝術學院
Outside view of Royal Academy of Art
英國皇家藝術學院外景
The Royal Academy of Arts was founded by King George III in 1768. The 34 founding Members were a group of prominent artists and architects who were determined
to achieve professional standing for British art and architecture. They also wanted to
provide a space for exhibitions that would be open to the public; and a school of art
through which their skills and knowledge could be passed on to future generations. The Royal Academy of Arts was moved to Burlington House in 1867. The Academy today
continues to aspire, in the words of its eighteenth-century founders, ‘to promote the arts of design’. The Academy now enjoys an unrivalled reputation as a venue for exhibitions of international importance. ----------
英國皇家藝術學院成立於1768年，由當時的國王喬治三世親自帶領34人創建。學校成立的目的有 二，一是以展出當代作品的方式，讓專業藝術批評家的聲音推動藝術與設計的發展，提高藝術家的 專業地位；二是推動國家的藝術教育，培養公眾對藝術的興趣和鑒賞能力。在幾百年的發展中，皇家 藝術學院曾經四度遷址，現在位於Piccadilly大街上的伯靈頓大廈。發展至今，皇家藝術學院依舊延 續著其創始人的宗旨，“推廣設計的藝術”，現在它作為具有國際意義的展覽場地，在全世界都享有 無與倫比的聲譽。
SPECIAL FEATURE
Organisation
組織結構
The Academy is an independent institution. The academicians are all practising
皇家藝術學院是一個獨立機構，其中的學者包括畫家、雕
elected by their peers. There are up to 80 academicians and a number of senior
為其傑出的成就而進入學院。學院中共有80名學者，和
painters, sculptors, engravers, printmakers, draughtsmen and architects and are academicians who are over 75. The Academy is governed by a council selected
by rotation from the academicians, and includes the four principal officers of the Royal Academy - the President, Keeper, Treasurer and the Secretary and Chief Executive, all of whom attend Council ex officio.
Collections and Library The RA owns a major collection of works by Royal Academicians past and
塑家、版畫家和建築師等，他們全都活躍在藝術領域，因 超過75名的高級學者，他們被輪換著選入一個理事會， 直接管理皇家藝術學院。在這個理事會中，還有幾位主要 的負責人，包括校長、管理員、財務主管、秘書和首席執行 官。
館藏
present together with the oldest and one of the best fine-art libraries in Britain.
英國皇家藝術學院在英國擁有的主要的收藏來自他們過
Tondo on display in the Sackler Wing of Galleries. Highlights from the Collection
館藏曾收到過不朽的遺贈，比如陳列在Sackler Wing 畫
The Collection has received outstanding bequests such as the Michelangelo can be seen on free guided tours of the John Madejski Fine Rooms. The RA
continues to fulfil its founders’ aims by mounting a continuous programme of internationally-acclaimed loan exhibitions, supported by extensive education
去和現在的收藏，這些館藏也是最老的和最好的藝術品。 廊米開朗基羅的作品。館藏當中傑出的作品可以在 John Madejski Fine Rooms的免費旅行手冊上看到。英國皇 家藝術協會通過持續性的國際展覽和廣大的教育性項
programmes, seminars and debates. The collection focuses on British art and
目支 持、研 討 會 及 辯 論 會 去 履 行 他 的 創 始 人 的目標。這
Highlights in the collection of paintings and sculpture include major works by
從18世紀直到近代。在這些傑出油畫和雕塑包含的主要
artists and predominantly ranges from the 18th century to the present day.
Reynolds, Gainsborough, Turner, Constable, Alma-Tadema, Flaxman, Millais,
Leighton, Waterhouse, Sargent, Spencer and Hockney. The Collection includes paintings, sculptures, drawings, prints, architectural designs, historic books, archives, historic photographs and plaster casts. The Academy’s Library is
the oldest fine arts library in Britain and has served the needs of students, Academicians and scholars for over 200 years.
些收藏重點在英國藝術和藝術家們，占主導地位的收藏 作品來自於雷諾茲、特納、康斯特布爾、阿爾瑪-垣德瑪、 弗萊克斯曼、米萊、萊頓、沃特豪斯、薩金特、斯潘塞和霍 克尼。館藏包括油畫、雕塑、素描、印刷品（照片）、建築設 計、史書、檔案、歷史照片和招貼畫。學院的圖書館是英 國最老的藝術圖書館，已經服務於學生、院士、學者超過 200年。
SPECIAL FEATURE
Burlington House 皇家藝 術 學 院 伯 靈 頓大樓
Burlington House
伯靈頓大樓
Passing through the gateway from Piccadilly into the Burlington House
穿過皮卡帝利大門進入伯靈頓大
history. The Royal Academy’s home since 1867 is Burlington House, a
五 十 年 之 久 的 歷 史 建 築。自1 8 6 7
courtyard, the visitor is met with three hundred and fifty years of architectural magnificent listed building at the heart of London’s West End.
In 1854 it was bought by the government and during the 1860s the site was Inside view of Royal
remade for institutional use as a home of arts and sciences – a great statement
樓的院子，遊客可以看見一棟三百 年伯靈頓大樓稱為皇家藝術學院 以來 它 就 是 倫 敦 西 部 中 心 地 帶 的 宏偉建築之一。
Academy of Art
of national cultural and intellectual might. Prior to the Royal Academy being
1 8 5 4 年 政 府 買 下 這 棟 大 樓，後 被
景圖
of various learned societies, almost all of which are still housed within the
中最有發言權的國家知識文化機
英國皇 家 藝 術 學 院 內
granted a 999-year lease in 1867, the building served as the headquarters
courtyard. The Royal Academy was required to erect its top-lit Main Galleries
and its art school at its own expense. Both were designed by Sidney Smirke RA and built on half of the garden to the north of the house. Smirke also added
a third floor to accommodate a suite of Diploma Galleries to unify Burlington
House with the three-storey ranges being raised around the courtyard by the firm of Banks and Barry, the latter the son of Sir Charles Barry RA, architect of
the Houses of Parliament. Further interventions have included a remodelling of the state dining room and the construction of a secondary staircase by Richard Norman Shaw RA (1885), the construction of a new Library (1986) and Print
Room (1993) by HT Cadbury-Brown RA, and the remodelling of the top-floor
galleries (now the Sackler Wing of Galleries ) and a reorganisation of the vertical circulation by Lord Foster of Thames Bank RA in 1991.
重整作為在整個的18世紀60年代 構。而 在 1 8 6 7 年 前 皇 家 藝 術 學 院 也被授予了一份為期999年的租賃 合同。被大樓所服務的各個學術團 體至今也都在庭院裏保留。皇家藝 術學院被要求建立最頂尖的美術 館以及藝術學校。新迪斯密克院士 設 計了他 們 並 把 他 建 在 北 面 的 花 園。 而後理察德諾曼肖院士參與 建造的包括餐廳的重裝和秘書處 的 重 建。吉 百 利 布 朗 院 士 在 1 9 8 6 年和1993年建造了新的圖書館和 影印室。
The Sackler Wing of Galleries Following the RA’s move to Burlington House in 1867, the
architect Sydney Smirke RA extended Lord Burlington’s town
palace in a number of ways to satisfy the terms of the lease. The
Main Galleries and Art Schools were built in half of the garden at the back and an extra floor was added to the house to serve as Diploma Galleries.
In 1991, an extensive remodelling of this addition was unveiled.
Norman Foster RA replaced the Victorian Diploma Galleries with a series of top-lit barrel vaulted spaces, renamed the Jillian and Arthur M Sackler Wing. The neglected gap between the old
town palace and the Main Galleries was brought into use by the
clever insertion of a modern glass lift and stairs. The light-flooded reception space at the top in front of the new wing of Galleries (pictured above) incorporates Smirke’s stone cornice, which
capped the Main Galleries and is here reused as a ledge to display sculpture from the RA’s Collection, now known as The Jillian Sackler Sculpture Gallery.
Lord Foster has spoken of how the seminal thinking behind
the Sackler Wing design paved the way for later work by Foster Associates, such as the Great Court at the British Museum,
describing it as “the first in a line of projects to demonstrate a clear philosophy about how you make modern intervention in historical structures and how you establish a meaningful relationship between old and new”.
RA Schools The Academy’s art school (it is known as ‘The Schools’ because each ‘School’ originally corresponded to a different element in
the training of the artists that had to be mastered in a particular
Exhibitions
British artists such as William Blake, JMW Turner, Edwin Landseer,
The RA continues to fulfil its founders’ aims by mounting a
Sandra Blow. Today, 60 students study drawing, painting and
exhibitions, supported by extensive education programmes,
course currently available in Britain.
Galleries host a variety of major exhibitions from all periods and
order) is the oldest in Britain. Past students include many famous JE Millais and, more recently, John Hoyland, Sir Anthony Caro and
continuous programme of internationally-acclaimed loan
printmaking on a three-year postgraduate course - the only such
seminars and debates. The Main Galleries and The Sackler Wing of
皇家 藝 術 學 院 皇家藝術學院是英國最古老的藝術學院。知名校友包括威廉布萊克、JMW 托納、愛德文蘭西爾、JE米萊斯、約翰霍蘭、安東尼卡羅爵士以及桑德拉鮑 勃。目前有60為學生在皇家藝術學院開設的全英唯一一個為期三年的研 究生課程學習，其內容包括素描、油畫以及版畫。
art forms.
展覽 皇 家 藝 術 學 院 始 終 堅 持 著 創 辦 伊 始 的 初 衷，即 不 遺 余 力 的 推 動 各 種 展 覽 的 承 辦 並 支 持 各 種 與 藝 術 相 關 的 課 程 、講 座 及 研 討 會 。而 主 畫 廊 和 Sackler Wing畫廊主要承辦各個時期的各種風格的藝術展覽。
Tips
小貼示
Opening time Sat-Thu 10am-6pm ( last admission to galleries 5.30pm)
Fri 10am-10pm ( last admission to galleries 9.30pm) 開放時間 周六至周四：10:00am-6:00pm（最晚入場5.30pm） 周五：10:00am-10:00pm（最晚入場9.30pm）
Outside view of Royal Academy of Art
英國皇 家 藝 術 學 院 外 景
Exhibition about China
與中國有關的展覽
ChinaThe Three Emperors, 1662—1795
中國：盛世華章，1662-1795
In the Main Galleries
展覽地點：Main Galleries
12 November 2005 — 17 April 2006
This magnificent exhibition explored the
artistic and cultural riches of Imperial China. Spanning the reigns of three Emperors,
Kangxi (1662—1722), Yongzheng (1723— 35) and Qianlong (1736—95), it focused
on the most powerful rulers of China’s last
dynasty: the Qing. Each Emperor employed the greatest artists and workshops of his day to glorify his rule.
展覽時間：2005年11月12日－2006年4月17日 皇家藝術學院歷來關註全世界的傑出藝術作品，它第一次關於中國的 專門展覽，是1935年的首屆中國藝術展，最近一次，則是2005年開始的“ 中國：盛世華章”。這個展覽中的藏品，都是中國清朝的皇家珍品，大部分 來自北京的故宮博物院。展覽聚焦於中國的最後一個封建王朝——清 朝，展示的是它最強盛時期的藝術與文化內涵。清朝的盛世集中於康熙 （1662-1722在位）、雍正（1723-1735在位）、和乾隆（1736-1795在位） 三位皇帝在位時期。皇家藝術學院的這次展覽，不僅有宮廷繪畫，還有玉 器、青銅器、瓷器、漆器、黃袍、皇宮家具、西洋儀器、武器甚至大典盔甲等 等稀世珍品，共計400余件，其中很多展品是第一次在中國境外展出。
086/087
THE PEARL BESIDE THE LAKE
SERPENTINE GALLERY 九曲湖畔的明珠
蛇形畫廊 WRITTEN 撰文 x HARRY 劉競晨
PHOTOGRAPHY 攝影 x MARGARITA MONER LOPEZ
BY COURTESY OF 圖片提供 x 蛇形畫廊 SERPENTINE GALLERY
Outside view of
Serpentine Gallery
蛇形畫廊外景
The Serpentine Gallery is one of London’s best-loved galleries for modern and contem-
porary art. It’s Exhibition, Architecture, Education and Public Programmes attracts up to 800,000 visitors in any one year. It has a critically acclaimed reputation for excellence,
presenting pioneering exhibitions of the most internationally recognized artists of our time.
----------
蛇形畫廊是倫敦最為活躍也是倫敦人最為喜愛的當代藝術畫廊。蛇形畫廊舉辦的展覽，講座，公共 項目每年吸引了超過80萬的遊客。蛇形畫廊的卓越品質和無與倫比的聲譽來自於其堅持不懈地將 當下國際視野內最為傑出的當代藝術家和藝術作品呈現在我們面前。
A Brief History Of The Serpentine Gallery
蛇形何來
The Serpentine Gallery is located in the Kensington Gardens in centre Lon-
英國藝術委員會在1970年選定了一處古典風格的茶室建立了蛇形
comes from the Serpentine River, which is in Hyde Park. In the grounds
曾是蛇形畫廊的名譽資助人，為了對其表示敬意，藝術家伊恩 • 漢
don, which was founded by Arts Council of Great Britain at 1970. Its name of the gallery is a permanent work by artist and poet Ian Hamilton Finlay,
dedicated to the Serpentine’s former Patron Diana, Princess of Wales. The
work comprises eight benches, a tree-plaque, and a carved stone circle at
畫廊，其得名於附近的橫穿海德公園的九曲湖。戴安娜王妃生前 密爾頓 • 芬利（Ian Hamilton Finlay）和新西蘭藝術家皮特 • 考蒂 斯（Peter Coates）合作創作了為蛇形畫廊特別設計的入口部分。
the Gallery’s entrance.
在蛇形畫廊剛剛成立的那些年，它僅僅是在夏季的幾個月裏對外
At the beginning of the Serpentine Gallery’s life, it was only open during
任畫廊總監，蛇形畫廊開始逐步活躍起來並且將當代藝術作為其
summer. In 1991, Julia Peyton Jones became the director of the gallery and the Serpentine Gallery began to focus on contemporary art. During last 20 years, Serpentine Gallery has held many exhibitions and events, and it has become a popular and active contemporary art stage in London.
The Serpentine Gallery has unique character and different from other art
galleries in London It built up its excellent reputation by presenting the pioneering works of internationaly recognized artists such as Antony Gormley, Damien Hirst, Jeff Koons, Richard Prince, Man Ray, Gerhard Richter, Cindy Sherman, Andy Warhol and Rachel Whiteread.
In 2006, Serpentine Gallery worked with Astrup Fearnley Museum of Modern Art to hold a exhibition China Power Station: Part I at Battersea Power Station in London. That show was the first big project, which Serpentine Gallery held exhibition outside its gallery, and the exhibition introduced Chinese contemporary art to British audiences for the first time.
開放，直到1991年，茱莉亞 • 佩頓 • 瓊斯（Julia Peyton Jones）出 主要的發展方向。蛇形畫廊舉辦的各種當代藝術展覽和活動，包 括建築設計，教育以及公共項目使得其成為了倫敦最具活力的當 代藝術舞臺。 卓越品質和引領風尚是蛇形畫廊在倫敦眾多的藝術場所中脫穎而 出的重要原因。曼瑞(Man Ray)、亨利 • 摩爾(Henry Moore)、安 迪 • 沃霍爾(Andy Warhol)、布裏奇特 • 賴利(Bridget Riley)、亞 倫 • 麥可蘭(Allan McCollum)以及達明安 • 赫斯特、 前衛藝術家 安東尼 • 麥考(Anthony McCall)都曾在這裏舉辦過個人展覽。 2006年蛇形畫廊與阿斯圖 • 弗恩利當代藝術博物館 （Astrup Fearnley Museum of Modern Art合作在倫敦地標性建築“巴特 西電廠” （Battersea Power Station）舉辦了名為《中國電站：第 一部分》（China Power Station: Part I）的中國當代藝術展。這 是蛇形畫廊的第一次大規模場外展覽項目，展覽表現了中國當代 文化的蓬勃發展， 同時也將中國當代藝術展現給西方觀眾。
The Main Curator - Hans Ulrich Obrist In 2006, the Hans Ulrich Obrist became the main curator
of Serpentine Gallery and was in charge of the exhibitions
and international projects. He is very interested in Chinese
contemporary art; he published his Hans Ulrich Obrist：The China Interviews in 2009, which included his interviews
with many Chinese artists such as Ai Weiwei, Cao Fei, Gu Dexin and Huang Yongping.
首席策 展 人 2006年瑞士策展人漢斯 • 尤利斯 • 奧布裏斯特(Hans Ulrich Obrist)加 入蛇形畫廊擔任展覽項目聯合總監和國際項目總監，他是最早也最多關 註中國前衛藝術的國際策展人之一。2009年漢斯 • 尤利斯 • 奧布裏斯特 著作出版了《漢斯 • 尤利斯 • 奧布裏斯特：中國訪談集》（Hans Ulrich Obrist：The China Interviews），收錄了他與包括艾未未、大尾象、曹崇 恩、曹斐、張永和、陳箴、儲雲、丁乙、顧德新和黃永砯等二十六位中國藝 術家、建築師、電影導演和音樂家的采訪對話，並於同年位於英國《藝術 評論》雜誌（Art Review） 評選的“藝術影響榜100人”之首。2010年漢斯 • 尤利斯 • 奧布裏斯特仍居該榜次席，並保持著他對藝術展覽和鑒賞風 向不可低估的影響力。
Hans Ulrich Obrist 首席策展人汗斯
Outside view of
Serpentine Gallery’s front face at
day and night
白天和夜晚的
蛇形畫廊外景
090/091
Serpentine Gallery
臨時展 館
Pavilion Commission
蛇形畫廊臨時展館計劃開始於2000年，畫廊每年邀請一位全世界範圍內那些在英國境內沒有作品的傑
The Serpentine Gallery Pavilion com-
（The Summer Party）並在室外草坪搭建臨時展館以供使用。這十年間，眾多傑出設計師曾參與過蛇
mission was conceived by Serpentine
Gallery Director, Julia Peyton-Jones, in
出建築師或者設計團隊來為其設計臨時展館。每年夏天蛇形畫廊都要為募集藝術資金而舉辦慈善派對 形畫廊臨時展館項目，其中也包括設計了CCTV新樓的設計師雷姆 • 庫哈斯（Rem Koolhaas）。
2000. It is an ongoing programme of
2000年 伊拉克裔英國建築師紮哈 • 哈迪德（Zaha Hadid）
ly acclaimed architects and designers.
2002年 日本建築師和家具設計師伊登豐雄（Toyo Ito）
temporary structures by internationalThe series is unique worldwide and
presents the work of an international
architect or design team who has not completed a building in England at the time of the Gallery’s invitation.
2001年 波蘭裔美國建築師丹尼爾 • 裏伯斯金（Daniel Libeskind）和奧雅納工程顧問公司（Arup） 2003年 巴西建築大師奧斯卡 • 尼邁耶（Oscar Niemeyer） 2004年 荷蘭前衛組合MVRDV事務所 2005年葡萄牙建築師阿爾瓦多羅 • 西紮 （álvaro Siza）和學生愛德華 • 索多 • 德莫拉（Eduardo Souto de Moura）聯合結構設計師塞西爾 • 貝爾蒙德 （Cecil Balmond）共同設計 2006雷姆 • 庫哈斯（Rem Koolhaas） 2007年 挪威建築師克雷蒂爾 • 索爾森（Kjetil Thorsen）和丹麥裔冰島藝術家奧拉維爾 • 埃利亞松 （Olafur Eliasson）共同設計 2008年 加拿大建築大師弗蘭克 • 蓋瑞（Frank O. Gehry） 2009年 日本知名的SANAA事務所妹島和世(Kazuyo Sejima)和西澤立衛 (Ryue Nishizawa) 2010 年 法國建築師讓 • 努維爾（Jean Nouvel）
蛇形畫 廊2012新館 2010年底，皇家公園為了提高建築利用率而委 托蛇形畫廊在肯辛頓花園內的廢棄彈藥庫舊 址上建立新的畫廊。從現在的蛇形畫廊向北 步行約五分鐘就可以抵達新的蛇形畫廊分館， 新館將被命名為蛇形薩克勒畫廊(Serpentine Sackler Gallery) 以感謝40年來為蛇形畫廊提 供最大筆單方贊助的莫蒂默博士和泰麗莎 • 薩 克勒基金會(The Dr Mortimer and Theresa Sackler Foundation)。新館將邀請著名設計師 紮哈 • 哈迪德（Zaha Hadid）進行設計，她將將 其設計成為倫敦市中心另一個當代藝術地標性 場所並為來自世界各地的藝術新銳作品提供展 示的平臺。新畫廊占地面積880平方米，輔助設 施將包括餐廳、咖啡店及頗具當代藝術設計感 的商店等。新的蛇形畫廊薩克勒畫廊將在2012 年倫敦奧運會期間正式開放。 畫廊總監茱莉亞 • 佩頓 • 瓊斯（Julia Peyton Jones）和首席策展人漢斯 • 尤利斯 • 奧布裏 斯特(Hans Ulrich Obrist)表示：“這是蛇形畫 廊千載難逢的一個機遇。我們一直在尋找合適 的場地來拓展我們的工作，我們非常感謝我們 的合作夥伴提供了這樣一個慷慨的幫助，能讓 我們有機會為大家打造一個令人激動的新的藝 術平臺。”
2008 Pavilion Commission
by Frank O. Gehry 2008年臨時展館, 弗蘭克
• 蓋瑞
2007 Pavilion Commission
by Kjetil Thorsen
and Olafur Eliasson
2007年臨時展館，
克雷蒂爾 • 索爾森
和奧拉維爾 • 埃利亞松
092/093
A New Public Gallery for London in 2012 The Royal Parks, as part of an initiative to make better use of its buildings, has
awarded a contract to the Serpentine Gallery to establish a new gallery in The Magazine building in Kensington Gardens. The Grade II listed building is situated on West
Carriage Drive, on the north side of the Serpentine Bridge. The project, to be known as the Serpentine Sackler Gallery, has been made possible by The Dr Mortimer and Theresa Sackler Foundation which has given the largest single gift the Serpentine Gallery has received in its 40 year history.
The building will be fully renovated by Pritzker Prize winning architect Zaha Hadid who will create a new destination for contemporary culture. Plans include an ad-
joining pavilion to be used as a social space and restaurant, creating a permanent architectural landmark in the heart of London.
The Serpentine Sackler Gallery will become an exciting new cultural destination for London, discovering the best new international talents from the worlds of art and beyond. The Serpentine
Sackler Gallery, like the Serpentine Gallery, will be free of charge and accessible to all, with public engagement and cultural learning at its heart. It is due to open in time
for the London 2012 Olympic and Paralympic Games. The Serpentine Sackler Gallery will offer over 880 square meters of galleries and social space, approximately equal to the Serpentine Gallery’s footprint.
Julia Peyton-Jones, Director and Hans Ulrich Obrist, Co-Director, Serpentine Gallery said: “This is an opportunity of a lifetime for the Serpentine Gallery. We have been interested in the potential of the building for some time and how it could help us expand the range of what we do. In these challenging times, we feared the op-
portunity would be lost. We are very grateful to our long-term friends for their very generous assistance, which has made it possible for us to create this exciting, new platform for the UK and beyond.”
Sky Mirror，Anish Kapoor Courtesy of the Artist and Lisson Gallery
阿 尼什卡普爾《天鏡》
Current exhibition：Anish Kapoor
當下展覽： 阿尼什卡普爾 - 顛
Turning the World Upside Down
倒的世界
The free exhibition will showcase a series of major recent
目前在蛇形畫廊展出的展覽是阿尼什卡普爾 （An-
structed from highly reflective stainless steel, the giant
在倫敦展出。他運用高反光率不銹鋼材料制作的作
works never before shown together in London. Con-
curved mirror surfaces will create illusory distortions of
the surroundings and will be visible across large distances,
creating new vistas in this famous and much-loved setting. Tips
小貼示
Serpentine Gallery opening time:
Daily :10am - 6pm 蛇形畫廊開放時間: 每日1 0 am-6 p m
ish Kapoor）近期的主要作品，也是這些作品第一次 品類似曲面反光鏡，巨大的鏡面將周圍的景觀反射 成為虛幻的倒影，感覺上好似將我們的世界顛倒了 一樣，這也是他作品標誌性的視覺效果。
Kapoor was born in Bombay in 1954 and has lived
阿尼什卡普爾（Anish Kapoor）1954年生於印度
at Chelsea School of Art and Design. Over the past
學習（Chelsea School of Art and Design）。在過
in London since the early 1970s when he studied
twenty years he has exhibited extensively in London
and worldwide. Kapoor represented Britain in the 1990 Venice Biennale, where he was awarded the Premio
Duemila. The following year, he won the Turner Prize.
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孟買，1970年代，他來到英國並在切爾西藝術學院 去的20年間，他的作品在倫敦及世界各地不斷的被 展出。在1990年的威尼斯雙年展上，他代表英國參 展，並獲得Premio Duemila獎，1991年獲得特納獎 （Turner Prize）。
For Profit or for Public?
Epilogue
CMBC sponsored and funded an art museum brings reputation as well as suspicion: is the aim of CMBC’s action for profit or to benefit the public?
Minsheng Art Museum has held several large art exhibitions, which attracted everyone’s attention in the industry.
The Opening exhibition, Thirty Years
Wenbiao Dong, the Chairman of CMBC, said that if CMBC wanted a sustainable development, a strong entrepreneurial spirit was
needed, and social responsibility is a part of entrepreneurial spirit. Supporting art is an expression of social responsibility for CMBC.
CMBC, as a commercial bank, uses this method to contribute the
community and society, does this bring them interest at the same time? From 2007, CMBC launched art investment programme,
of Chinese Contemporary Art 1979-
2009, brought attention and discussion.
Regardless the purpose of Minsheng Art Museum, whether for economic profit
or simply for the public, this art museum indeed enriches public’s lives, improves
people’s tastes, at the same time, it won reputation for CMBC.
and Minsheng Art Museum protect the investors’ interests in
certain levels. Moreover, the active status of Chinese art market demands normative art investment institutions.
However, Minsheng Art Museum does not focus on the financial benefit for CMBC. What CMBC is benefited from Minsheng Art
Museum is the reputation in the industry. Xiaoqing Ding, director of Media of Minsheng Art Museum, said that Minsheng Art
Museum did gather a large group of artists around it. People,
holding the CMBC card can visit exhibition with a free charge.
Moreover, the free talks and lectures organized by Minsheng Art Museum enriched people’s knowledge and vision.
中國當代藝術三十年曆程 展覽現場
Exhibition display of
Thirty Years of Chinese Contemporary Art
本期專題
結 語 民 生 現 代 美 術 館 自 開 館 至 今 多 次 舉 辦 了 大 型 藝 術 展 覽， 在 業 內 外 引 起 了 大 家 的 關 注 。 其 開 館 展 “ 中 國 當 代 藝 術 30 年歷程 ” 在藝術圈裡也 是 一 件 轟 動 的 事 情。 不 論 民 生 現 代 美 術 館 是 為 了 經 濟 利 益 而 建 的， 還 是 純 粹 為 了 大 眾 的 精 神 生 活 而 造 的， 它 的 開 放， 確 實 為 大 眾 打 開 了 一 個 欣 賞 中 國 現 當 代 藝 術 的 大 門。 而 在 豐 富 大 眾 生 活， 提 高 藝 術 品 味 的 同時，民生美術館也確實為民生銀行贏得了聲譽。
純 公 益 ＝非 功 利 ？
民生銀行開美術館之一舉動，在美術界為之叫好的同時，無疑讓外界
多了幾分猜測：他們到底是為了公益事業還是為了銀行的發展需要？
中國民生銀行董事長董文標表示，民生銀行想要持續發展，必須有強
大的企業精神來支持，社會責任就是其中重要的一部分。而關注藝術 是民生銀行擔當社會責任的一種表達。
民生銀行作為一家商業銀行，用這種方式回饋社會的同時，沒有為他
們 帶 來 一 點 點 的 利 益 嗎 ？ 民 生 銀 行 自 2007 年 開 始， 推 出 了 “ 藝 術 品 投 資 計 劃 ”， 而 民 生 現 代 美 術 館， 也 從 一 定 程 度 上 保 障 了 投 資 者
的利益。而中國藝術品市場火熱的現狀，也是需要規範的藝術品投資 機構。
但是民生現代美術館並沒有把為民生銀行帶來經濟作為經營目標，而
對於民生銀行，獲得的更多的應該是業內的聲譽。民生美術館媒體主
管丁曉芹說，民生美術館建立的更大意義在于美術館周圍聚集了大批
的藝術家群體。在民生現代美術館，持有民生銀行卡的觀眾可以免票
參觀展覽。而民生美術館所舉辦的一系列免費講座，也豐富了藝術愛 好者的知識和視野。
043/042
An Art Museum Bakced by a Financial Institution funded by the China Minsheng Banking Corporation (CMBC),
Related Links: the ways of financial institutions involve into art investment market in China (from Sina)
joint-stock commercial bank with shares mainly from non-
1. In July 2007, CMBC issued No.1 Funds for
As we all know, Minsheng Art Museum is sponsored and but operated independently. CMBC, as the first national public enterprise, does create a lot of ‘first’.
In 2008, Board of CMBC decided to use 0.8%-12% of pre-tax profits every year as a special public fund. So far, the total
fund has achieved 0.2 billion RMB. This fund will be used in
art field, as Minsheng Art Museum, as well as to build public projects, as welfare schools.
In April 2010, Minsheng Art Museum officially opened to the public. The project of Minsheng Art Museum costs about 30
million RMB. However, three months ago, CMBC issued No.2 Funds, a 2-year art funds. The profit of this funds provided financial support for the operation of the museum.
As a result, the investment from financial institutions to art
museum, actually opened minds when build or operate an art museum. Undoubtedly, The involvement of financial
institutions brings new life to art museums. Without having to worry about the conditions for living, art museums will have more time and energy to consider their own affairs, such as exhibitions and education.
private banks and high-end customers. The investment products are mainly used for
domestic investment in modern art with a 25% of return, in two years later.
2. In June 2009, China Merchants Bank launched art appreciation programme, which allows
costumers collect art for a year with certain
deposit, and decide to buy or not a year later. Essentially, this is not an investment fund. 3. In June 2009, China Construction Bank
launched its first art funds investment trust schemes in the scale of 46.5 million RMB.
Terminated after one year, this trust raised
about 1 billion RMB, with 7% as an annual rate of return.
4. In November 2010, CITIC Trust Co., Ltd issued its first investment trust product on Chinese
calligraphy and paintings. This trust has raised
40 million RMB. The period of this trust is three
years, and the expected annual rate of return is more than 10%.
本期專題
中國當代藝術三十年曆程 展覽現場
Exhibition display of
Thirty Years of Chinese Contemporary Art
金 融 機 構 為 背 景 的 美 術 館
眾所週知，民生現代美術館是民生銀行全資籌建的，但在運營方式上採取了獨立運
營。民生銀行作為中國首家由非公有制企業入股的全国性股份制商業銀行，確實在 中国的金融領域開創了不少先河。
年 ， 民 生 銀 行 董 事 會 決 定 從 每 年 的 稅 前 利 潤 中 撥 出 0.8% 到 1. 2% 作為專門 2008 的企業公益基金。到目前為止，這一基金總額約為兩億元人民幣。而這一基金除了
投向民生現代美術館等藝術領域，也會用來建立公益小學這樣的項目。
年 月 2010 4 ， 民 生 現 代 美 術 館 正 式 開 館 。 而 這 一 項 目 使 得 民 生 銀 行 投 資 約 3000 萬 人 民 幣 ，而 就 在 此 前 三 個 月 ，民 生 銀 行 發 佈 了 兩 年 期 的 藝 術 品 基 金 ─ ─ 號 2 基金。
而這項理財業務產生的獲利也可以為美術館的運營提供資金支持。
這樣一來，金融機構投資美術館，其實是打開了中國美術館的思路。美術館不再是
一樁 “ 賠錢的買賣 ”。對於美術館的正常運營，金融機構資金的介入，無疑是為
美術館打了一劑強心針。在不必為生計發愁的條件下，美術館就由更多的時間和精 力來考慮美術館自己的事情：比如展覽，比如教育。
相 關 鏈 接 ： 中 國 金 融 機 構 進 入 藝 術 品 投 資 市 場 的 方 式 （ 選 自 新 浪 網 ）
％的收益率。 25
年 月 1民 生 銀 行 2007 7 發行了針對私人銀行和高端客戶的藝術品投資一號基金， 這項投資產品主要用於投資國內現代藝術品，少量投資境外現代藝術品。在封閉投 資了兩年之後，獲得
萬 4650
年 月 2招 商 銀 行 私 人 銀 行 2009 6 推出藝術鑑賞計劃，客戶可以支付一定的保證金 從而收藏藝術品一年，一年後決定購買與否。本質上這不是一個投資基金，也沒有 規模限制。
年 月推出了首款藝術品投資集合資金信託計劃，規模 3建 設 銀 行 2009 6 元人民幣。一年後終止，年收益率 ％ 億元人民幣。 7 ， 募 集 資 金 共 約 10
中信信託 年 月發行了首款針對中國書畫類藝術品實物投資的信託產品， 4 2010 11 募 集 資 金 4000 萬 元 人 民 幣 ， 信 託 期 限 為 三 年 ， 預 期 年 收 益 率 不 低 於 10 ％。
041/040
Introduction
1,600 square meters. To provide the most
Minsheng Art Museum is sponsored and
art education resources, Minsheng Art
funded by the China Minsheng Banking Corporation, which is an non-profit
organization mainly establishing varies
types of activities that engaged in art. It is also the first public welfare organization in context of financial institutions in Mainland China.
The total area of the museum is about 4,000 square meters. There are five
exhibition halls, whose total area is about
user-friendly convenience and plenty of Museum also provide report room, VIP
room, literature-based reading room, art book shop, Café and ATM for visitors to enjoy their spare time.
The building of Minsheng Art Museum was a factory of a steel works 50 years
ago. After re-design and transformation,
Minsheng Art Museum, as a art museum
exhibits modern and contemporary art, is presented.
本期專題
美 術 館 概 況 民生現代美術館是由中國民生銀 行 發 起 和 出 資 建 立 的， 主 要 從 事 文化藝術類活動的非營利公益性
039/038
組 織， 也 是 中 國 大 陸 第 一 家 以
Minsheng Art Museum
金融機構為背景的公益性藝術機
The Official Opening of
構。
民生 美 術 館 開 館 展
美 術 館 總 面 積 約 為 4 0 0平 0 方米， 館 內 公 有 五 個 展 廳， 展 廳 總 面 積
Minsheng Art Museum
約 為 160平 0 方 米。 同 時， 秉 承 為公眾提供最為人性化的便利和
Exhibition space of
豐 富 的 藝 術 教 育 資 源 的 理 念， 美 術 配 有 報 告 廳、 貴 賓 室、 書 吧、 咖 啡 廳、 文 獻 閱 覽 室 等 相 關 配 套 設施。 民 生 美 術 館 的 展 廳 在 5年 0 前曾 經 是 上 海 煉 鋼 廠 的 一 間 廠 房， 在 經 過 了 重 新 的 設 計 改 造 之 後， 變 成 了 現 在 的， 集 中 國 現 代 與 當 代 藝術為一身的民生現代美術館。
民生 美 術 館 空 間
Minsheng Art Museum For Profit or for Public? WRITTEN BY: SHORAN JIANG
BY COURTESY OF: MINSHENG ART MUSEUM
Shanghai Minsheng Art Museum, as the first art museum in context of financial institutions in
Mainland China, brings a fresh experience to the public. As a non-profit organization, Minsheng Art Museum indeed brings welfare to the public in exhibitions and education. At this time, the question that the foundation of Minsheng Art Museum is for profit or for welfare is asked.
本期專題
上海民生現代美術館作為中國大陸第一家以金融機構為背景 的 美 術 館， 它 的 成 立， 確 實 給 公 眾 帶 來 了 耳 目 一 新 的 感 覺。 而 它 同 時 作 為 一 家 公 益 性 藝 術 機 構， 確 實 在 展 覽、 教 育 等 領 域 為 大 眾 帶 來 了 福 利。 這 時， 人 們 不 禁 要 問 了， 民 生 現 代 美
撰文：姜嘯然
圖片提供：民生現代美術館
037/036
術館，到底是為了功利還是公益？
Outside view of
Minsheng Art Museum
民生現代美術館 功利還是公益？
民生美 術 館 外 景
Current Exhibition: Wang Jianwei's Yellow Signal By Zheng Yan, UCCA Art Department Director Guy Ullens After spending 40 years building his family
business around the world, Guy Ullens retired
in 2000 to focus on cultural and philanthropic activities with his wife, Myriam.
A member of the boards and councils of various
international museums and art centers (including the Guimet Oriental Museum, the Foundation
Cartier in Paris, and the Tate Modern in London), Guy also sits on the board of the Verbier Music
Festival in Switzerland and is planning to help the festival expand in Asia.
汪建偉 圖片由藝術家提供
Wang Jianwei
Courtesy of the artist
In Wang Jianwei's Yellow Signal , he
understood, but it tends to bury or gloss
concepts: motion versus rest, clarity
As the saying goes, "Spectators see the
presents us with a number of opposing versus obscurity. Superficially, these
binaries seem to help us to make sense of the world, but in fact, their blurred
interactions offer us even more complex
truths. This is where the frame of reference becomes important: with the yellow
signal being both a point of reference and
over issues of pluralism and authenticity. game more clearly than the players."
Perhaps this is what exhibition-goers are meant to ponder: whether or not they can recognize how their perspective
shifts when frames of reference change or interfere.
a point of transition, "stop" and "go" are
simultaneously valid courses of action. On the other hand, taking the green light or
red light as a reference leaves us only one valid choice, either "stop" or "go".
Yellow Signal is a series of works that reveal how identity and symbols are
transformed (or transposed) when the
frame of reference changes. The yellow
signal's "legal state of limbo" transcends
epistemological boundaries. The absence of a transitional point generates two
distinctly antagonistic states that can only negate, usurp or trade places with each
other. Of course, a simplified binary world
may be much more acceptable and easily
本期專題
汪建偉 《黃燈》第一章節《用贗品等待》 視頻拍攝現場圖, 2011 8頻錄像裝置, 尺寸不固定 圖片由長征空間提供
Wang Jianwei
Photo still from the making of Yellow Signal / Chapter One: Making do with Fakes, 2011 8 channel video installation Dimension variable
Image courtesy of Long March Space
藝術部總監 UCCA
當下展覽：汪建偉 作者：鄭妍，
黃燈 —
汪建偉早期的繪畫作品已為體制內外所共知和肯定，而由畫架轉向當代 性更強的裝置和影像創作之後，藝術家特有的敏感、對現實世界的警覺 讓他的作品更具備一種先鋒的姿態。 可 以 說 汪 建 偉 的 作 品 總 會 讓 人 有 所 思。 以 “ 黃 燈 ” 為 例， 具 體 來 說， 一個抽象概念形成於人腦中，不管我們是否意識到，因為這個概念有一 個清晰的邊界存在，與之相對應的另一個概念也就很自然的產生了。比 如運動與靜止或者清晰與模糊，都會形成一種對應關系。這種對應關系 讓我們認識世界變得容易，然而事實上，我們卻不得不面對一個更為復 雜卻真實、模糊又交錯的對應關系群，此時參照物的作用就得以凸顯。 黃 燈 的 狀 態 其 實 是 一 種 參 照 與 過 渡 ，以 黃 燈 做 參 照 ，通 行 和 停 止 同 樣 合 理 。 如果僅以紅燈或綠燈做參照物，通行和停止必然只有一種合理的存在。 “ 黃燈 ” 這組作品恰恰揭示了這種由於參照物不同所導致的事物身份和 象征的轉換，那種合法的中間狀態的存在與否，已超過認識論層面所涵 蓋 的 範 圍 。當 這 種 過 渡 不 存 在 的 時 候 ，只 有 兩 種 鮮 明 對 立 的 狀 態 相 互 循 環 、 相互否定與代替，固然，一個簡化的二元世界更容易被理解和接納，卻 掩 蓋 或 是 忽 略 了 事 情 的 多 元 性 和 真 實 性 。當 局 者 迷 ，旁 觀 者 清 ，透 過 “ 黃
2 0 0 0年 ， 尤 倫
燈 ”，旁觀者能否意識到這種由於參照物的介入和變化所引發的視角的 轉變，這可能正是展覽要留給觀眾的另一種思考。
尤倫斯先生
4 0年 的 工 作 生 涯 裏 ， 尤 倫 斯 先 生 在 世 界 各 地 逐 步 建 立 起 家 族 產 業 。 斯先生決定隱出商界，和妻子一起從事慈善文化活動。
在
Ve rbie 音 r 樂節的董事成員，除此之外他
身 為 多 所 國 際 博 物 館 和 藝 術 中 心 的 董 事 成 員（ 古 曼 東 方 美 術 館 ，巴 黎 卡 地 亞 藝 術 基 金 會 英國泰特美術館） 尤 ; 倫斯先生同時也是瑞士 近 期 還 計 劃 在 亞 洲 地 區 推 廣 音 樂 節 活 動。
,
003/002
The Guy and Myriam Ullens Foundation, established in Switzerland in 2002,
promotes Chinese contemporary art by sponsoring events worldwide, lending works from its collection to museums and art centers, and organizing major exhibitions in China and Europe. It is
one of the most active organizations
promoting Chinese contemporary art worldwide.
The objective of Guy and Myriam Ullens in opening UCCA was to give back to China what China had given to them in their
many years of collecting, and to create a
dynamic platform for dialogue between
China’s contemporary creative artists and the rest of the world. Through UCCA, a
non-profit organization, Guy and Myriam
are taking their support for China’s artists to a whole new level, encouraging the
development of new cultural ideas and
providing an antidote to an increasingly commercial and profit-driven art scene. Lisa Le Feuvre and Tom Morton.
The 39 selected artists have been chosen on the grounds of their significant
contribution to contemporary art in the
last five years. All artworks included have
been produced since 2005 and encompass sculpture, painting, installation, drawing,
photography, film, video and performance, with many artists creating new works
especially for the exhibition. British Art
Show 7 will mark a change in direction from previous years, moving away
from the model of a survey show to an
exhibition with a marked curatorial focus.
彼 得 · 林 德 伯 格《未 知》, 2011, 影像裝置, 展 覽 現 場 , 攝 影：陳 丹 圖片：尤 倫 斯 當 代 藝術中心提供
Peter Lindbergh
The Unknown, 2011 Video installation Exhibition Scene
Photo: Danny Chen Courtesy of UCCA
Courtesy of the artist
300x200cm
Burbank, USA, 2004
Warner Bros. Studio,
尤 倫 斯 的 退 出
Chris Dye,
月 2 ，作為世界上收藏中國當代藝術作品最多的收藏家之一的比利時人蓋伊 尤 ·
Angela Lindvall,
2 0 1年 1
“ 經 濟 規 律 說 ”： 不 少 人 認 為 尤 倫 斯 無 非 也 是 一
個商人，面對中國當代藝術作品價格在全球範圍內
Peter Lindbergh,
倫斯宣布將把位於北京 的 “ 尤倫斯當代藝術中心 ” 的管理權轉讓給 “ 長期合作夥 7 9 8 伴 ”，並將於 月 日 件中國當代藝術品，此後將尋 4 3 通 過 香 港 蘇 富 比 拍 賣 其 收 藏 的 106 機 出 售 手 中 剩 余 的 1 0 0多 0 件中國藝術品。此舉引發了中國當代藝術界的不小震動。
的走高，低納高抛是更久不變的商業準則，面對這
幾年嚴峻的全球經濟形式和巨大的經濟回報，尤倫
圖片由藝 術 家 提 供
早在尤倫斯當代藝術中心建立之初，尤倫斯夫婦已經意識到在中國建立非盈利性藝術機
斯選擇了獲利出逃的策略也無可厚非。
伯班克，美 國 , 2004,
構是一件註定堅信的道路，在接受《紐約時報》采訪的時侯， 蓋伊 尤 · 倫斯和他的妻子 瑪麗恩就表示他們將心愛的英國畫家特納的作品出售是為了為籌備在中國建立一個非盈
華納兄 弟 製片廠，
033/032
“ 信 心 喪 失 說 ” ； 由 於 中 國 基 金 體 制 的 不 健 全，
尤倫斯很難在中國建立起西方體系類似的運轉模
克里斯 ·戴，
利的藝術空間。時隔四年，當尤倫斯夫婦宣布退出的時侯，這個消息依然猶如一個重磅 炸彈。對於他們的離開和抛售的原因，也引來了各種各樣的聲音。
式 ，而 且 中 國 當 代 藝 術 的 學 術 缺 乏 ，作 品 水 平 下 降 ，
市場混亂等現象導致了尤倫斯對中國當代藝術前景 的信心缺乏從而萌生退意。
此次的尤倫斯撤出中國，對中國藝術界及藝術市場
有怎樣的影響我們還要拭目以待，但是很多藝術界
人士表示，尤倫斯的離開從長遠來看對中國當代藝
術的發展不是一件壞事，通過這件事，有助於反思
300x 200cm
中國當代藝術的發展道路，也有助於中國當代藝術
安吉拉 ·林 德 沃，
更落腳於本土。
彼得·林 德 伯 格 ,
Ullens Centre for
classical paintings but soon became captivated by the creativity of Chinese contemporary artists and
Contemporary Art (UCCA)
broadened his interest to the mid-1980s Chinese
UCCA is a non-profit art center founded by collectors Guy and Myriam Ullens in November 2007, located in the heart of Beijing’s 798 Art District, UCCA is
housed in an original and inspiring 1950’s industrial
Bauhaus factory complex.. UCCA presents exhibitions of established and emerging artists and develops a
platform of dialogue between China and the rest of
avant-garde. Both Guy and Myriam dreamed of
opening an international contemporary art center in China to further their long-term goal of promoting
and raising the global profile of Chinese contemporary art. This dream was realized in November of 2007, when UCCA celebrated its grand opening at Art
Factory 798, the heart of Beijing’s Dashanzi Art District.
the world.
Guy and Myriam Ullens are two Belgian art collectors
As an innovative and comprehensive art center,
During their frequent visits to China over the last
who enjoy sharing their passion for art with others.
twenty-five years, they have developed a love for the
the Ullens Center for Contemporary Art (UCCA)
local Chinese art scene and built up a considerable
consistently demonstrates a compelling and
unique way of engaging with the public. UCCA
offers a complete artistic experience that combines exhibitions, programs, events, fine dining and
shopping. As a non-profit art center, UCCA channels
all earned revenue into supporting our exhibitions, art events and education programs.
Inspired by a childhood fascination with China, Guy Ullens began his collection with Chinese
collection of Chinese art, which they have always been generous about exhibiting and lending to others.
The Guy and Myriam Ullens Collection, one of the
largest of its kind in the world, is comprised of more
than two thousand pieces by several generations of artists working in a variety of mediums: sculpture, painting, installation, video and more.
本期專題
尤倫斯當代藝術 中心展場圖片
UCCA Space
尤 倫 斯 當 代 藝 術 中 心 介 紹 尤倫斯當代藝術中心是一座非營利的綜合藝術中心，由收藏家尤倫斯夫婦出資建造，
年 2007
1月 1 正式開幕。藝術中心推出包括知名和年輕藝術家的展覽，致力於打造一個通過教育、研究 項 目 分 享 當 代 藝 術 體 驗 的 平 臺 。 尤 倫 斯 當 代 藝 術 中 心 坐 落 於 北 京 798 藝 術 區 ， 空 間 在 擁 有 50
年代包豪斯式建築風格的廠房基礎上改建而成。
提供的全方位藝術體驗。 UCCA
作 為 一 座 極 富 創 新 精 神 的 綜 合 藝 術 中 心 ，尤 倫 斯 當 代 藝 術 中 心（ UCCA ）立 足 於 廣 大 公 眾 的 需 求 ， 以其獨特方式向公眾展現中國當代藝術的魅力。公眾可以通過參觀展覽、參與教育項目和公眾 活動、訂購藝術商品以及享受美食等方式，親身感受
尤倫斯夫婦與中國當代藝術的淵源
自 兒 時 起， 尤 倫 斯 先 生 就 對 中 國 產 生 了 濃 厚 的 感 情， 並 深 深 地 被 中 國
藝 術 家 獨 特 的 創 造 力 所 吸 引。 尤 倫 斯 先 生 的 藝 術 收 藏 始 於 中 國 古 典 繪
畫 作 品 ， 在 20 世 紀 80 年 代 中 期 的『 85 新 潮 藝 術 運』 的 影 響 下 ， 他 對中國藝術的興趣更加濃厚，收藏的作品也日益增加。 尤倫斯夫婦樂
於 與 別 人 分 享 他 們 對 藝 術 的 熱 愛 。在 過 去 近 30 年間的多次訪華過程中， 出 於 對 中 國 藝 術 的 熱 愛， 他 們 收 藏 了 數 量 龐 大 的 中 國 藝 術 品。 尤 倫 斯
多件，包括雕塑，繪畫，裝置和影像。 2,000
夫 婦 的 收 藏 是 世 界 最 大 的 中 國 藝 術 品 收 藏 之 一， 擁 有 中 國 歷 代 不 同 領 域的藝術作品
年，尤倫斯基金會在瑞士成立，並通過在中國及歐洲主辦大型展 2002 覽、 贊 助 一 系 列 與 中 國 當 代 藝 術 相 關 的 重 要 國 際 活 動， 以 及 向 美 術 館
和 當 代 藝 術 中 心 開 放 其 藏 品 資 源 的 形 式， 推 動 中 國 當 代 藝 術 在 世 界 範
圍內的不斷發展，是當今最活躍的中國當代藝術的推手機構之一。
年 ， 尤 倫 斯 夫 婦 創 辦 UC CA ，旨在創建一個中國當代藝術與世界 2007 對 話 的 充 滿 生 氣 的 平 臺， 並 以 此 回 饋 多 年 中 國 藝 術 的 收 藏 生 涯 中， 這
片土地和生活在這裏的藝術家帶給他們的故事和感動。 通過這個平臺，
尤 倫 斯 夫 婦 期 望 把 對 中 國 藝 術 家 的 支 持 上 升 至 一 個 全 新 的 境 界， 為 日
益商業化的當代藝術環境註入新的文化靈感，創造出更多的可能性。
031/030
Story Continues-Ullens Centre for Contemporary Art WRITTEN BY: JINGCHEN LIU
PHOTOGRAPHY COURTESY OF: ULLENS CENTRE FOR CONTEMPORARY ART
Only four years since The Ullens Centre for Contemporary Art (UCCA) has
been founded, but it has made a great impact on Chinese Contemporary Art. It is a nonprofit art organization, which was the first one founded by
westerner. Since the beginning of the UCCA, every move of it has been with
all kinds of discussion. In four years, the UCCA brought many great exhibitions to Chinese audiences. In this spring, Mr. Ullens announced his decision of
withdrawal of Chinese contemporary art market and put his many Chinese
contemporary art collections to the auction house. With the leaving of Ullens, the future of this art centre which bears his name is not clear.
本期專題
圖片提供：尤倫斯當代藝術中心
故事還在繼續 撰文：劉競晨
尤倫斯當代藝術中心 —
尤 倫 斯 當 代 藝 術 中 心（ UCCA ） 從建立至今雖然只有不到四年
的 時 間， 但 是 其 對 中 國 藝 術 界
產 生 的 影 響 卻 是 巨 大 的。 它 是
一個西方人在中國建立的非盈
展場圖片
029/028
利 性 的 當 代 藝 術 機 構， 從 它 誕
生 的 那 一 天， 它 的 一 舉 一 動 都
被 各 種 各 樣 的 解 讀， 揣 測 或 者
質 疑 所 伴 隨 著。 四 年 來， 是 它
將西方的規範的美術館經營體
制 帶 入 了 中 國， 是 它 為 我 們 帶
來 了 一 個 個 優 秀 的 藝 術 展 覽。
今 年 的 春 天， 尤 倫 斯 宣 布 了 撤
出 中 國 當 代 藝 術 市 場 的 決 定，
大 批 的 藏 品 在 春 拍 上 抛 售， 伴
隨 著 尤 倫 斯 的 退 出， 這 座 以 他
名字命名的美術館的未來又會
UCCA Space
如何？故事還在繼續。
尤倫斯 當 代 藝 術 中 心
Conversation between History and Present The contrast between the historical and contemporary value of RAM makes it unique and different from any other galleries. An example of this is the
sharp contrast in the foyer of the museum, with its classical decorations and the re-interpretation by an internationally renowned architect. The RAM
is a continuous conversation between it’s past and present in terms of it’s
Du Wenda (b. 1966, Xiaoxian, Anhui
Province, China) Flying Saucer D 2010
architecture layout, practicality and aesthetically.
From a historical point of view, RAM is one of the earliest established museums
in China, and the building was closed to the former British Consulate. The Bund area where RAM is located was the original British and French Concession in
Shanghai. As a result, this place has been influenced by the British culture for a long time. Today, the Bund area has became a symbolic place in Shanghai and has an invaluable place in people’s heart. RAM is the only contemporary art
museum in the Bund area, and as well as providing an interesting conversation between the past and present. It also is a very important platform for Western and Chinese cultural exchange.
本期專題
Cai Guo-Qiang (b. 1957, Quanzhou, China; lives in New York) Fairytale 2010
碰 撞 後 的 火 花
在歷史於當下的碰撞下，上海外灘美術館可以說是別有一番景致。首先是美術館的大
滅的地位。古今的歷史碰撞，作為外灘地區唯一的當代美術館，這裡也必然是中西當
化的很大影響。而如今，外灘作為上海地區的重要象徵，更是在人們心中有著不可磨
的涉足之地。而大樓所在的外灘，也是原來的英法殖民地。在文化上，受到了西方文
在大樓的歷史上，作為中國最早的博物館之一，緊鄰原英國領事館，是上海外僑最早
實用性，還是美感上，都是歷史於當下的對話 。
厚 重 的 歷 史 與 多 彩 的 當 下 ，也 就 是 未 來 歷 史 的 一 個 連 結 。
於上海外灘美術館的概括。上海外灘美術館，就是對於
示為昨天和明天的連結。” 其實，這句話也可以作為對
巫 鴻 ， 作 為 《 2010· 曾梵志》在上海外灘美術館展出的 策展人，這樣說過：“ 當代藝術的 ‘ 當代性 ’ 必須顯
結 語
樓 。歷 史 的 沈 澱 ，加 上 國 際 知 名 建 築 設 計 師 的 重 新 詮 釋 ，上 海 外 灘 美 術 館 不 論 從 佈 局 、
代藝術交流的一個重要平台。
027/026
Contemporary Art: Art in the Present
In May 2010, RAM officially opened. The opening exhibition Cai Guo-qiang: Peasant Da Vincis
attracted attention across the field within the
art industry. In this exhibition (removed comma) Cai Guo-qiang is not only an artist, but also a
collector and a curator. Throughout the whole exhibition, Cai Guo-qiang, had a very planned
approach, paying particular attention to space and proportion.
本期專題
當 下 的 藝 術
年 月 2010 5 ，上海外灘美術館正式 開 館， 開 館 展《 蔡 國 強： 農 民 達 芬
奇》在業界引起了轟動。而在這個展
覽中，蔡國強更多的充當的不單單是
藝術家，也是收藏者、策展人。整個
展覽，蔡國強對於分寸的拿捏，十分
小心。整個展覽，從各個方面都是精 心策劃的。
上海外灘美術館館長賴香伶說，外灘
lives in New York)
in New York)
Tan Chengnian’s Plane
Courtesy of the artist
Wreck, 2010
Complex
300x200cm
Quanzhou, China; lives
Quanzhou, China;
025/024
美術館，扮演的是一個藝術傳播者的
角色，也是城市文化和當代藝術的交
流平台。正是這種立足於當下的時代
背景，立足於當下的藝術特點，立足
於自己特點的追求，上海外灘美術館
Cai Guo-Qiang (b. 1957,
才可以在業界發展壯大。
Cai Guo-Qiang (b. 1957,
Introduction of RAM Located in Bund area where Huangpu River intersects with Suzhou Creek, RAM was
founded in historic and cultural heritage.
The aim of RAM is to serve contemporary art and to bu ild an academic, professional and international communication platform to promote art.
The area of the exhibition space in RAM is over 1000 square metres, and the
different height of the spaces gives more interesting inner view of RAM. In 2007,
world-renowned British architect David
Chipperfield was commissioned to renovate the Museum interior. Keenly aware of the building’s cultural heritage, the architect
reshaped the interior with simplicity, grace, and functionality. Infusing the historical
architecture with the spirit and character of modern art.
Historic Traces In 1874, under the support of the Shanghai Municipal Council (SMC), the North China Branch of the Royal Asiatic Society raised
money from local community and built its first permanent venue, a 2-floor building that had contained a library, a museum
and a lecture hall. The Museum was also known as Shanghai Museum, one of the
earliest established museums in China, with collecting natural specimens and cultural
artifacts pertaining to China as its main tasks. The museum building was completed in
1932, originally designed by British architect
George L. Wilson. While its exquisite Art Deco exterior combines both western and Chinese elements, the interior – the lecture hall on
the first floor, the library on the second floor and the museum exhibition halls on the
third and forth floors – are done in different architectural styles, yet in all cases design
complements function. It can be said that, from planning to raising the funds, from
design to redesign and transformation in
2007, the architecture of RAM has it roots in the UK.
本期專題
上 海 外 灘 美 術 館 簡 介 上海外灘美術館位於上海黃埔江與蘇州河交匯之處的外灘，是一個建立在歷史文化遺產之上，服務於
年，著名的英國建 2007
當代藝術的美術館，而他們的目標則是將自己建立成為一個 “ 學術化，專業化，國際化 ” 的，推廣 與交流藝術的的國際平台。 上海外灘美術館過千平米的展示空間，不同的高度使得整個展館錯落有致。
築設計師戴維 奇 ）接到了美術館的邀請，在保留原有建築的歷史性 · 普 菲 爾 德 （ Dav i d Chi p perf i el d 的同時，重新塑造了內部空間，為這一歷史建築注入了現代藝術空間的精神和氣質。
Rockbund Art Museum
Georg e L.
023/022
歷史的痕跡
外 灘 美 術 館 所 在 的 大 樓 為 亞 洲 文 化 大 樓， 最 初 建 於
年，是英國皇家亞洲文化中國支會募集社會資金 1874 建 立 的 。當 時 ，大 樓 內 部 設 有 圖 書 館 、博 物 院 和 演 講 聽 。
其中的博物院是中國最早成立的博物院之一─上海博
物 院， 它 曾 經 是 遠 東 地 區 中 國 標 本 和 文 物 收 藏 最 富、
年 ，由 英 國 建 築 師 1932
影響最大、功能最全的社會教育和文化交流機構。 美術館建築完成於
設 計。 建 築 融 合 了 中 西 文 化 的 元 素， 典 雅 而 Wils on 精 緻 的 裝 飾 藝 術 風 格。 其 二 層 的 演 講 聽、 三 層 的 圖 書
館、 四 至 五 層 的 博 物 館 陳 列 聽， 都 具 有 不 同 的 建 築 特
色 ，同 時 又 是 設 計 與 功 能 的 完 美 結 合 。可 以 說 ，從 籌 建 ，
到 設 計 ， 再 到 2007 年 的 重 新 設 計 改 造， 上 海 外 灘 美 術館建築與英國的淵源是相當久遠的。
Outside view of Shanghai 上海外 灘 美 術 館 外 景
Rockbund Art Museum: Conversation Between Past And Present WRITTEN BY: SHORAN JIANG PHOTOGRAPHER: NAN LIN
BY COURTESY OF: ROCKBUND ART MUSEUM
Shanghai, as a metropolitan city, has its own
historical stories and present glories. In the Bund area, an iconic place in Shanghai, Rockbund Art Museum (RAM) shines particularly as a
historic building, in the context of history and contemporary art.
本期專題
攝影：林楠
藝術作品圖片提供：上海外灘美術館
Rockbund Art Museum
上海外灘美術館─ 歷史與當下的對話 撰文：姜嘯然
上海作為一個國際大都市，有著它過去的歷史和如今的風采。而在上海外
021/020
灘，這個標緻性地段的上，改建歷史建築後的上海外灘美術館，在歷史與 當下的藝術語境之下，顯得尤為耀眼。
Outside view of Shanghai
上海外灘美術館外景
凱瑟琳尼爾森造物系列
Catherine Nelson The creation series
Epilogue In this unique context of China, to run
such a large non-profit private art museum is not easy. There are no relevant laws and regulations to observe, and there is no
previous theory or practice to use. In the
study of western art museum’s operation
mode, combined with China’s characters, TAM indeed gives more ideas on how to run a art museum in China.
The Most
Representative
Non-profit Art Museum
exhibitions in TAM. Meanwhile, TAM Academic Centre has rich academic
resources and experiences in hosting
academic symposiums, the museum has long-term academic relationships with
in China
established critics, artists, curators and
Since its establishment in 2002,TAM
symposiums. Moreover, Art Today, as the
has acquired more than 5,000 pieces
of contemporary artworks of all media,
includes the most established well-know Chinese contemporary artists’ artworks.
TAM has become an important institution that records the developing path of Chinese contemporary art.
In many western countries, art museum is also a research institution. Studied from the western art museums, the
Academic Committee department of TAM was established in 2007, which
provided academic support to all the
art dealers, and it has successfully hosted
several dozen academic conferences and museum periodical, first published in
2004, has become a platform to discuss
Chinese contemporary art in the context of globalization.
As a non-profit institution, TAM set
up a free visit day every month, which
brings more people to the museum to appreciate contemporary art. Beside the museum periodical Art Today,
TAM publishes Oriental Art Master and
Oriental Art Chinese Painting bimonthly.
These two magazines offer readers more opportunities to study art.
本期專題
200年 2 成 立 至 今， 收 藏 各 類 當 代 藝 術 作 品
最 具 代 表 性 的 非 盈 利 中 國 本 土 美 術 館 今日美術館自 5 0 0餘 0 件，成為紀錄當代藝術發展歷程的一個重要機構。其 中包括了中國當代藝術中最具代表性的藝術家們的知名作品。 在 歐 美 許 多 國 家 ，美 術 館 同 樣 是 一 個 研 究 機 構 。今 日 美 術 館 ， 秉 承 西 方 這 一 優 良 傳 統 ， 在 2 0 0年 7 ， 成 立 了 學 術 委 員 會， 為 今 日 美 術 館 的 展 覽 提 供 了 學 術 理 論 支 持。 同 時， 今 日 美 術 館 舉 辦 了 幾 十 場 學 術 研 討 會 ，得 到 了 學 界 的 普 遍 認 可 。而《 今 日 美 術 》 作 為 今 日 美 術 館 的 館 刊 ， 自 2004 年 創 刊， 探 討 中 國當代藝術在全球化語境下的發展變化 ，已經成為一個中國 當代藝術的學術平台。
結 語 而 作 為 一 個 公 益 機 構 對 於 社 會 的 回 饋， 每 個 月 至 少 一 次 的 免 費 開 放 日， 讓 更 多 的 人 們 進 入 美 術 館， 去 感 受 當 代 藝 術。 除 了館刊以外，今日美術館定期出版的藝術雜誌《東方藝術 大 · 國 · 畫》也為更多的讀者提供了學習研究藝
家》和《東方藝術
術的更廣闊的平台。
在 中 國 這 個 獨 特 的 語 境 之 下， 辦 好 這 樣 一 個 大 型 的 非 盈 利 的 民 營 美 術 館 並 不 容 易。 沒 有 相 關 的 法 律 法 規 的 依 靠， 沒 有 先 人 理 論 與 實 踐 的 支 持。 在 學 習 西 方 國 家 相 應 美 術 館 的 操 作 模
費歐娜 法 莉
Fiona Foley , Bliss,
Video 2009
Exhibition displays of
式， 結 合 中 國 本 土 特 點 之 後， 今 日 美 術 館 確 實 為 其 他 美 術 館 開拓了思路。
《天堂 之 樂》影 像
今日美 術 館 展 覽 現 場
Today Art Museum
Growing Pains of the Not-Profit
museum, firstly, it is important to be a not-profit organization.
As the first private not-profit museum in China, TAM has
personal belongs to the investors, art museum can have fully
encountered various problems. TAM has been always exploring its development way in variety of difficulties.
Different from the UK, Chinese creative industry has only
developed for a very short time. In China, there are no clear
relevant laws and regulations about creative industry. From this it can be seen that there is a huge distance between Chinese
Because only the collections become to a public source, not support by government and society. Next, by following the
standards of international art museum we need to build up high
quality and operation system that is suitable for the art museum.
The third one is to establish a healthy industry chain, a reasonable
financing machinery and a self-contained working system to have parts of the funding source.”
creative industry and that in the UK. The support from the
TAM has collaborated with many international brand and held
Director of TAM, pointed out that in China there are no suitable
characters, by developing successful experience of western art
government to TAM is mainly on policy field. Zhang Zikang, the tax laws for non-profit organizations, and limited sponsors prefer to choose other entertainment events to support. As a result, as a non-profit private art museum, TAM needs to find out its own way for development.
When talked about operation, Zhang Zikang has always insisted his own concept. “ As an art museum, especially a private art
numbers of events with reputation. Combined with Chinese
museums, TAM set up a variety of membership for diverse people. Although membership system is not that popular in China, the membership system in TAM truly bring more people to the art
museum and cultivate people’s love of art. Meanwhile, the Book
Centre, Documentary Film Centre, Engineering Centre, Bookstore, Café and Gift Centre, which provide different range of service with their own team, can also grant the fund source for TAM.
本期專題
“ 非 盈 利 ” 的 艱 辛 與 成 長 作為中國第一家非盈利的民營美術館，今日美術館遇到過各種各樣的問題。在各種 艱辛中求發展，今日美術館一直在探索一條可持續發展之路。 於英國不同，中國的創意文化產業發展的時間並不長。在相關的法律法規上，對於 創業產業的板塊，也並不明朗。雖然近幾年，國家已經開始扶植創意產業的發展， 但於英國這個創意產業大國相比，各個方面還相距甚遠。國家對於今日美術館的支 持，主要是在政策上。而資金反面，更多的是要靠今日美術館自己的運營體系。今 日美術館館長張子康指出，目前在中國尚還沒有適宜非盈利組織發展的稅收法律體 系，有限的贊助商又面臨來自其他娛樂項目的激烈競爭。這使得這個非盈利的民營 美術館要尋求自己的發展之路。 在運營理念上，張子康一直堅持者兼容並包的理念，他談到：“ 作為美術館，尤其 是民營美術館，首先在體制上要是非盈利的機構，因為只有美術館的收藏成為社會 文化資源，而不是歸投資者所有，才能的到政府的支持，得到社會的贊助與支持； 其次，按照國際美術館標準要求自身的展覽品質以及運作機制；再次，需要建立良 性的文化產業鍊條，擁有一部分自身的資金來源。” 在贊助商方面，今日美術館與多個國際知名品牌合作，舉辦了多個大型活動。 在結 合中國特點，發展了西方美術館的成功經驗後，今日美術館針對不同人群，設置了 多種會員體制。雖然會員機制在中國並不為大眾廣泛接受，但是今日美術館完善這 一做法，確實也是在培養大眾到美術館欣賞藝術的習慣。同時，今日美術館的圖書 中心、影像中心、工程中心、書店、咖啡廳以及一系列的藝術衍生品，都有自己相
Today Art Museum
對完善的團隊，為藝術工作者提供各種不同的服務，同樣可以補助美術館的資金來 源。
Exhibition displays of 今日美 術 館 展 覽 現 場
Today Art Museum Introduction
In 2002, Beijing Today Art Museum (TAM) was founded by Zhang Baoquan, with a fund of 40 million RMB. TAM located in
constructed and operated in compliance
with the international art museum norms, TAM quests for the developing mode for
non- public operating museum actively. In July 2006, TAM successfully transited into a non-profit organization.
CBD in Beijing. Its building was a factory,
TAM aims to impulse Chinese
Wang Hui. This architecture shows the
referred to present, but also the past and
and then re-designed by famous architect aesthetic style of the traces of old industrial era mixed with the contemporary
concepts. Moreover, the permanent
outdoor installation Viewing the Exhibiiton
by artist Wang Jiangwei, which is designed according to the characters and functions of the building and the surrounding
environment, adds more flavours and taste to the architecture.
The most significant feature of TAM is
that it is a non-profit private art museum. As the first private art museum that is
contemporary art. ‘Today’ is not only
the future. Today’s art achieves in the past
and creates the future. TAM gives attention to Chinese contemporary art, art genres and key artists, develops the exchanges
among different fields, and promotes the
interaction between domestic and foreign artists, art institutions and art activities.
At the same time, TAM pays attention to the finding and planting of the young
artists, which is to promote the artists, art
institutions and art movements inside and out side contacting continually.
年建成，由地產大亨張寶全先生斥資 2002
今 日 美術 館 概 況 今日美術館於
4000
萬 元 打 造 。 今 日 美 術 館 位 於 北 京 CBD 中 心 區 域， 現 在 所 在 的 大 樓曾是一間工廠，後是由著名設計師王暉主持設計改造的，舊工
業時代的痕跡與當代理念的對接呈現出獨特的美學風格。而美術
館樓頂的永久性戶外裝置作品 “ 看展覽 ”，是藝術家汪建衛與
王暉深入交流後，根據建築的特點、功能與周圍環境，為今日美
術館打造的一間藝術作品，為美術館大樓平添一份情趣。
今日美術館最大的特點在于它的性質──民營非盈利性。它是中 年 2006
月 7 ，今日美術館成功轉型為
國第一個按照國際美術館規範建設和運營的純民間美術館，在發 展方向上，獨辟蹊徑，在 真正意義上的非盈利機構。
今日 美術 館 致力 於 推動中國 當 代藝術 的前 進。所謂 “ 今日 ”，
不僅是當下，同時也是過去和未來。今日成就於過去，而造就出
未來。在關注中國當代藝術、當代藝術流派、關鍵人物的同時，
今日美術館通過誇界交流，促進國內外的藝術家、藝術機構、藝
術活動間的互動。同時，也在今日傳播藝術，挖掘年輕藝術家，
Exhibition space of
Today Art Museum
今日美 術 館 二 號 館 外 景
Today Art Museum
為未來中國藝術的更加繁榮推波助瀾。
今日美 術 館 展 示 空 間
Outside view of
Today Art Museum
The Growth and Hope of Non-Profit Private Art Museum Beijing Today Art Museum, the first non-profit private art museum in China, has been attracting attention in the field. The museum aims to promote Chinese contemporary art based on an internationalized vision and a contemporary
ideology. As the first non-for-profit, non-governmental run art museum in China, it dedicates to explore an appropriate development strategy for museums of its kind within a Chinese context.
本期專題
WRITTEN BY: SHORAN JIANG
BY COURTESY OF: TODAY ART MUSEUM
撰文：姜嘯然
圖片提供：今日美術館
今日美術館 民營的非盈利美術館的成長與希望
013/012
今 日 美 術 館 是 中 國 第 一 家 民 營 非 企 業 公 益 性 美 術 館 ， 自 2002 年 創 建 以 來， 一 直 收 到 各 界 的 矚 目。 今 日 美 術 館 一 直 致 力 於 積 極 參
Today Art Museum
與 並 推 動 中 國 當 代 藝 術 的 前 進 和 發 展， 現 代 性 的 視 野、 國 際 化 的
TOutside view of
平 台、 規 範 化 的 運 營， 都 為 探 詢 一 條 適 合 中 國 民 營 美 術 館 的 生 存 發展之路做出了自己的貢獻。
今日美術館外景
However, the art exchange launched Bai Genyan’ s other 7 artworks and a diamond last week.
The supplier and agent is still Tianjin Hua Zan
Zhengzhou would be the next to launch its art exchange.
Cultural Artwork Investment Company. It’ll be
In comparison, the Tianjin art exchange focuses
the supplier and the supervision system all can’t
easily manipulated by capital. It would be more
very dangerous when in a market, the platform,
keep independent and can’t against monopoly. Actually, the art exchange is not a new idea.
Several years ago, there was a company called Intrade whose art trading is based on Mei-
Mose art index. However, Intrade’s business is
more for entertainment as its areas covers other
on single piece of artwork, which may be more relevant to the real art world if the sample
expanded from single work to group of work and to the whole art index. The T+0 instant trading
and zero entry permission in Tianjin art exchange fully increases the liquidity, and thus, increases the risk.
political, technological and pop star events.
Art stock as a new art investment method aims
as benchmark, it can avoid the deviation of
liquidity, which helps to solve the weakness of art
Though trading infrequently, by using art index investment judgment from the real art market. This February, a French company also launched art exchange where public galleries offer
artworks that also sell in separated shares.
Though more transparent, the lower liquidity
than that of Tianjin’s weakened the performance. What’s more, the western collectors are very
mature who are not passionate for the pseudocollecting popular experience. Now, the art exchange is still trying to survive.
to attract more people involved and increase
investment while still keeps its character. Being a beneficial addiction for art market, art stock will
have a bright future in huge potential. However, the art financialization, in whatever level, should base on the proper art value judgment and
operate in a fair and open supervision system. When lack of these musts, the art exchange
would become the heaven for speculation and
hotbed for corruption and money laundry, which would do harm to the art market and social environment.
In Mainland, Shenzhen art exchange launched
Now, the art exchanges in China are making
sell as financial assets last May. It also introduced
when minor problems appear. With more and
94 artworks by Qi Baishi and Zhang Daqian for
Yang Peijiang’s 12 artworks as one asset package and sold by shares last July. Shanghai art
exchange also provided Huang Gang ‘s art right shares whose holding period will be 5 years.
progress with no instruction. It’s acceptable more attention paid, it’s no doubt that the
art exchange will keep improved to make the Chinese art market more attractive.
固定欄目
而上周 文 , 交所又推出了白庚延的另外七幅作品 和一顆鉆石。代理商依然是天 津華贊文化藝術 品投資公司。當一個市場 其 , 交易平臺 供 , 應商 和監督系統都 無法保持獨立性和非壟斷性的話 ,
其發展前景是非常危險的。 其實 藝 , 術 股 票 並 不 新 鮮。 幾 年 前 就 有 一 家 叫 Intrade的 公 司 對 梅 摩 藝 術 指 數 進 行 交 易 。 但 這家公司的業務更帶有娛樂性 還 , 涉足政治、科
技 、明 星 等 事 件 的 指 數 化 交 易 交 , 易較不頻繁。 不過它以藝術指數為標的則不會使投資判斷脫 離 藝術市場實際。
今年 2月 法 , 國一家公司也推出了藝術證券交 易所 由 , 畫廊提供作品 作 , 品也 是進行分拆出售
份額。雖然該系統公開性高 但 , 流動性較差 不 , 像天津文交所 那樣可以即時交易。更重要的是 ,
西方的收藏觀念已經很成熟 對 , 於這種親民 的 偽收藏體驗並沒有太多的熱情。因此 目 , 前 該 ,
交易所還在低調嘗試。
國內的深圳文交所去年 5月 就 將 齊 白 石 、 張 大 94幅 作 品 作 為 理 財 產 品 發 行 。 7月 又 ,
千的
年 。鄭 州 也 在 積 極 準 備 文 交 所 。 5
將楊培江的 12幅 作 品 作 為 一 個 資 產 包 分 拆 上 市。上海文交所也推出了 黃鋼的藝術品產權份 額 續 , 存期為
相比之下 天 , 津文交所關註單件作品更容
易受資金操作 如 , 果擴大標的樣本 從 , 作 品到作品組合再到整體指數則能更貼合藝
,
術 市 場 的 發 展 規 律。 天 津 文 交 所 的 T+ 0 交易和投資準入零門檻更是全面釋放資金
流動性而加大了投機風險。
藝術證券化作為一種新的投資模式降低了
藝術準入 使 , 更多的人能參與。並且 增加
了流動性 保 , 持藝術投資魅力的同時改進 了藝術投資變現難這一軟肋。應 該說 藝 ,
術證券化作為整個藝術市場的有益補充
今 後 有 很 廣 闊 的 前 景。 但 是 再 怎 麽 證 券
化也必須以藝術標的的合理價值判斷作為
基礎 還 , 要建立公正公開 的運作體系來監
管。缺少了這樣的基本理念 藝 , 術交易所 則會淪為投機圈錢的 工具 貪 , 腐洗錢的溫
床 這 , 對於整個藝術市場和社會環境都是 非常不利的。
,
目前 我 , 國的文交所都是在試驗中前進 , 出 現 一 些 問 題 也 在 所 難 免。 相 信 隨 著 各
方越來越多的重視 文 , 交所會不斷改進 讓中國的藝術市場更具魅力。
011/010
Art Exchange
The New Heaven for Speculators?
WRITTEN BY: ARTTACTIC
With the links between art and capital becoming
Chinese art market, driven by different force, enters
financialization is turning into practice. Different
that pushes the hot money into the imperfect but
closer and closer there years, the demand for art
into a much more strong boom. One important force
financial tools and methods are actively introduced
juicy art market is the high inflation in Mainland and
into art trading. Several years ago, the bull market
weak return from other investment. But obviously,
witnessed the confident emerge of art investment
funds while the bear market experienced their sudden disappearance. Now, there comes new art investment tool: art exchange.
there are more speculators than investors.
The irrational understanding on art value and
unprofessional operation also blows the bubble. In November last year, a Chinese buyer purchased a
In January 2011, Tianjin Cultural Artwork Exchange
Qing Qianlong vase in London Bainbridge auction for
was launched, which responds the appeal of the
¥550 million which became the new world record for
national government’s art market development
Chinese artwork. However, the estimate was only £1
strategy. The art exchange is completely the copy of
million. Besides, the imperfection of auction law gives
stock exchange. It’s just the pieces of artwork instead
opportunity to fakes and sensationalization, which do
of pieces of stocks. The art exchange approves the
artworks that are planning for sell. After the evaluation
harm to the development of art market.
by third party, the artwork will be separated into
In this environment, the eye-catching launch of
announcement and welcomes successfully registered
diversification of risk avoidance for art market. Instead,
shares for equal price. The art exchange will release
investors for subscription and purchase. Opening each working day, the art exchange offers client software
similar to that of stock exchange to assist the investors to buy and sell shares.
The first two artworks for sell are the Chinese painting works by Bai Genyan which valued 5 million CNY and
separated into 5 million share as priced 1 Yuan for one share. By 14 March, the art stock’s price has reached
12.9 Yuan, which suggests the investment generate
it helps the speculators to blow the bubble.
Let’s take the artist Bai Genyan on sell for example where only the proper marketization excluding
academic value is discussed. Before the autumn 2010, all of his single work sold less than ¥500,000 while in
December 2010, just one month before the launch of art exchange, three artworks suddenly brokethrough the 1 million level with the top one reached ¥3.9
million, which proves the possibility of speculation.
1190% return in less than 2 months. This obviously
The evaluation of 5 million in the art exchange is also
runs against the market rule and shows strong
arguable. According to Bai Genyan’s art career and
speculation.
age, his art style should have established which should not generate big float in price. This makes it difficult
The craziness is highly related to Chinese art market
and capital flow. With the open of the art market and
art exchange hasn’t made positive effort to the
to believe the quality and independence of the third
the establishment of infrastructure, China has enjoyed
party evaluation.
the boom leading by auction since 2005. While other art market suffered a lot in global financial crisis, the
固定欄目
藝術交易所 投機者的新天堂 ? 撰文： ArtTact ic
隨著這幾年藝術和資本的關系越來越緊密 對 , 藝術金融化的需求不 斷地變成現實。各種金融領域的工具和方法都在積極地引進到藝術 交易中。幾年前藝術基 金在牛市中迎來了發展高峰 但 , 在熊市後部 分退場 進 , 行 反 思。 而 現 在 又 , 出 現了新的藝術投資工具 藝 : 術交
易所。
2 0 1 1年 1月 中 , 國天津市推出了天津文化產權交易所。此舉是為 了 響 應 國 家 為 藝 術 市 場 大 發 展 的 號 召 。文 交 所 完 全 是 證 交 所 的 復 制 , 只不過一支支的股票變 成了一幅幅的藝術品。文交所對申請 “ 上
市 ” 的藝術品進行審批 由 , 第三方進 行估值 將 , 藝術品拆分成一定
1元 。 截 止
3月
數量的股份 每 , 股 為 均 價。 然 後 文 交 所 發 布 公 告 註 , 冊合格的投資 者進行認購和申購。文交所每個工作日開放 投 , 資者可通過類 似證
5 0 0萬 份 每 , 份
交所的客戶端對股份進行購買和出售。
拆 , 分成
首批上市的是兩幅天津藝術家白庚延的水墨作品。藝術品估價 500 14日 藝 , 術
萬人民幣
“ 股票 ” 價格已達 1 2 .9元 短 , 短一個多月 這 , 項投資已經有了 的回報。顯然 這 1190% , 已違背了市場規律 有 , 明顯的投機行為。
這樣的瘋狂和中國藝術市場和資本流向有著密切的關系。隨著藝術 市場的開放 和基礎渠道的建立 中 , 國從 2005年 開 始 已 拍 賣 為 主 導 進 入 牛 市 。全 球 金 融 危 機 過 程 中 當 , 其它藝術市場表現慘淡的時候 ,
中國藝術市場受多方驅動而進入更 大一輪的牛市。這其中 因 , 目前 國內通脹嚴重、其它投資品種表現一般而將熱 錢湧入尚不規範但機
會多多的藝術市場是一個非常重要的因素。但投機顯然比 投資占了 更大比重。
對藝術價值的非理性認識和非專業操作也使藝
5. 5億 人 民 幣 拍 得
11月 有 , 一中 國買家在倫
Bainbridg e拍 賣 行 花 了
術 價 格 虛 高。 去 年 敦
一清乾隆粉彩鏤空瓶 創 , 造了中國藝術品的世界 記錄。而這件作品的估價僅為一百萬英鎊。除此
之外 拍 , 賣市場的法律不健全使得贗品和炒作盛 行。這些對藝術市場的發展都有害無 益。
在這樣的大環境下 文 , 交所的高調亮相並沒有為 藝術投資的多元化和分散風險 起到積極的作用 ,
反而幫助投機資本把中國藝術市場泡沫越吹越
大。
以文交所上市的白庚延為例 我 , 們不討論學術價 2010年 秋 拍 之 前 ,
值 只 , 分 析 市 場 的 合 理 性。
其單幅作品價格不超過 萬 而 年 50 , 2010 12 月 即 幅作品 , 文交所 上市前一個月 白 , 庚延有 3
一下子突破百萬大關 最 , 高價達三百九十萬。 顯 然炒作跡象明顯。而對於文交所上市的作品估價
五 百 萬 則 更 讓 人 質 疑。 根 據 白 庚 延 的 藝 術 生 涯
歷程及年齡 其 , 作品風格早已定型 因 , 此不應該 有 巨 大 的 波 動。 文 交 所 的 第 三 方 估 值 的 能 力 和 公信力讓人無法信服。
009/008
Cola Project Initiated by He Xiangyu in 2008, the Coca Cola Project plays a seminal role in the understanding of the artist’s body of works and practice.
With a stark simplicity, the artwork may lead the audience to wonder why the idea had not already been done before.
For the work, the artist simply boils Coca Cola soft drink until a dry, lava-like paste is achieved. The resulting organic sludge no longer holds any aspect of its original industrial product or its American ideological symbolism. By boiling it, the artist strips away all the
cultural significance of the original product and allows it to return to nature. The vibrant result is a meditative, fragile work.
Jade Skeleton This latest piece is the artist’s most impressive effort to date. Working as a Chinese "Memento Mori", created from jade, this life-sized
human skeleton plays with the contradiction of the stone’s traditional
symbolism of longevity. Through its precocity, this superlative artwork is at once dense and fragile, reaching a sacred dimension.
可樂計劃
Cola Project
玉骨架
Jade Skeleton
固定欄目
於 2 0 0年 8 由何翔宇開創的可口可樂項目對於我們理解這位藝術家大量的作品和創作實踐起著關 鍵作用。具有鮮明簡單性的藝術品使觀眾們禁不住發出這樣一個疑問：為什麽以前沒人做過這樣
可 口 可 樂 項 目
玉制人體骨架正如中國的 “ 死兆 ”，與
藝術家最多心血的作品。這件實際大小的
玉 骨 架
最近問世的這件作品是迄今為止凝聚這位
的嘗試呢？
物便不再具有本身的工業產品性質，也不再象征美國意識形態。通過將其進行烹煮，這位藝術家
為了創作需要，這位藝術家將可口可樂飲料煮成一種幹燥的熔巖狀糊狀物，那麽得到的有機沈澱
聖感油然而生。
亡，瞬間讓人同時感受到厚重與脆弱，神
這件登峰造極的藝術品，講述著永恒與死
石頭象征長壽的這一傳統觀念產生了矛盾。
去除了產品本身所承載的文化含義，讓其重新回歸自然，從而創造出一件發人深思的精美作品。
The Artworks Dongba Works The obsession of recollection previously mentioned is the most visible with the Dongba works.
Fascinated by the Dongba culture originating from the Naxi minorities in Lijiang, the artist uses these
cultural elements as a starting point in his creative process.
At first glance, these works seem to be authentic antiques simply collected by the artist, however,
何翔宇東巴系列
in Yunnan, He Xiangyu uses century-old chunks of
Dongba Series
they are not. Working with a team of artisans based
Works of He Xiangyu's
wood to design and create new functional and nonfunctional pieces, such as chairs, tables and wheels. Through this distortion and re-elaboration, the
artist creates a contrast between tradition and the practices and cultural environment of today. By
breathing life back into these traditions, the artist
avoids stigmatizing them by anchoring them to the past.
By re-enacting these traditions and dangling his
work between antiques and contemporary design, He Xiangyu questions our perceptions of the very
nature and shape of objects and where they exist in time.
In this second Dongba project, He Xiangyu is
using an ancient culture to question the formalist approach to light, shape and medium. Visual
pictograms and signs from the Dongba culture are
first combined on paper or on canvas. The painting is then inserted in a glass frame. Inside the frame, wires cross in the space. The light then interacts
with the wires through holes in the glass, creating a very complex but seemingly minimal piece of art in which the colour decomposes on the canvas.
The accumulation of forms and their organization on the support create a non-linear narrative
structure within the artwork. The signs, guided by lines and abstract shapes borrowed from Western
minimalism, combine to create visual sentences. As with an astrological system, the signs leave their interpretation to the audience.
固定欄目
藝術品 東 巴 系 列
前文中提到的何翔宇對傳統元素的癡迷在東巴系列中體現得淋漓盡
致 。對 源 於 麗 江 納 西 少 數 民 族 東 巴 文 化 的 深 深 迷 戀 使 這 位 藝 術 家 在 自
己的創作過程中吸納了東巴文化元素作為自己創作過程的起點。
乍 一 看 這 些 作 品 似 乎 僅 僅 是 這 位 藝 術 家 收 藏 的 古 董 真 品 而 已 ，但 是 其
實不然。何翔宇與一批紮根雲南的能工巧匠進行合作，采用一塊塊的
百年老木來設計和制作了功能和非功能性的藝術品，如椅子、桌子和 車輪。
這 位 藝 術 家 通 過 一 些 變 形 和 加 工 手 段 ，使 傳 統 和 當 代 的 實 踐 與 文 化 環
何翔宇重新審視了這些傳統元素，
境形成了鮮明的對比。他為這些傳統元素註入了新活力，而不是使它 們受到傳統的束縛而停滯不前。
使其遊走於古董和當代設計之間，對我們有關物體的本質、形象以及 它們在時間裏存在的觀念提出了質疑。
在他二件東巴項目中，何翔宇借助一種古代文化來對形式主義對於
光、形象以及介質的處理提出了質疑。源自東巴文化的視覺象形圖和
符 號 首 次 在 紙 張 或 畫 布 上 得 到 了 結 合 。圖 畫 被 嵌 入 了 線 路 交 織 的 玻 璃
框架中。這樣，光線就通過玻璃裏的孔和那些線路相互感應，形成一
副非常復雜的極簡藝術派作品，而它的色彩最終在畫布上瓦解。
形式的積累及其在畫架上的排列在藝術品內創造了一種非線性的敘
事 結 構 。這 些 符 號 在 西 方 極 簡 主 義 線 條 和 抽 象 形 狀 的 引 導 下 結 合 成 了
視覺語言。這些符號就像星象圖一樣，留給觀眾無盡的想象空間。
005/004
An Introduction to He Xiangyu’s works WRITTEN BY: JEREMIE THIRCUIR
Presentation Now at the end of the 21st century’s first decade, at a time when
a body of work with an impressive consistency and coherency.
of life and a fresh conceptual framework, a new guard of artists is
creation of this grammar of an object.
the contemporary art scene seems to be looking for a new breath emerging in China.
The following examples illustrate how the artist proceeds in the
This group of innovative artists is re-establishing the historical
link between art and spirituality, between the material and the spiritual, and connecting the present with traditions from the past. A key member of this movement is He Xiangyu.
何翔宇作品
Work of He Xiangyu
Though born during the 1980s, He Xiangyu does not fit in with
the “post-’80s” generation and squarely contradicts the work of many of his contemporaries. Instead of following rank and file
into the passive, materialistically bred generation, He Xiangyu is taking the counterpoint to this phenomenon by collecting the
past and regenerating it through the filter of contemporary art
practices. His collection is active, one that re-enacts the past, and makes it exist again.
After studying the myriad historical, cultural, symbolic and
physical meanings and feelings produced by these objects, He
Xiangyu then attempts to redefine and alter the inner significance and reality of the objects. The artist creates a dialectical inquiry
into the philosophical and social aspects of the Chinese object. Far from the coldness of the current post-minimalist trend, He
Xiangyu creates a kind of new minimalism anchored in Chinese traditions. This simplicity is reflected in his creative process. For each piece, the artist selects one material as the focus. He then works to remove the meaningless and visually unnecessary
elements in order to distil the essence of the material. Borrowing from the “Arte Povera,” the emphasis is placed squarely on the process and the materials.
The lack of an “artist’s touch” allows He Xiangyu to disappear in his works. The artist puts himself above the piece as an active but invisible mediator between the spiritual and the material.
Though a very young artist, He Xiangyu has already produced
固定欄目
） Jer em ie T hir cuir
何翔宇 藝術作品簡介 撰文：傑瑞米（
簡 介 在 2世 1 紀第一個十年之末，當代藝術似乎正在尋找全新的活力和概念框架，而中國也湧現出一批 新風格的藝術家。 這群富有創新精神的藝術家正在努力建立藝術和精神以及物質與精神之間的歷史聯系，將當前和歷
8年 0 後，但是何翔宇卻與 “
8年 0 後 ” 的一代格格不入，甚至和許多同齡人的作品產生
史傳統連接起來。這場活動中的主要人物就是何翔宇。 雖然生於
了 抵 觸 。何 翔 宇 並 沒 有 隨 波 逐 流 ，成 為 消 極 頹 廢 和 愛 慕 虛 榮 的 80 年 後 ，而 是 在 努 力 抵 制 這 種 風 氣 。 他通過吸收傳統元素，在當代藝術創作中對傳統元素註入了新的活力。他對傳統元素的積極吸收不 僅使這些傳統得到了重新審視，而且使它們得到了重生。
在研究了這些作品所蘊含的各種歷史、文化、象征與物質含義及意識後，何翔宇試圖重新定義和改 變這些作品的重要性和現實性，辯證地探究中國藝術作品的哲學性和社會性。
擺脫當代後極簡主義的冷漠之後，何翔宇創造了一種新的極簡主義與歷史傳統遙相呼應。這種簡
通過對 “ 貧窮藝
單 性 在 他 的 創 作 過 程 中 得 到 了 充 分 體 現 。對 於 每 一 件 作 品 ，這 位 藝 術 家 都 選 擇 一 種 素 材 作 為 重 點 ， 然後再設法省略其中一些無意義的不必要元素，以提煉出中心素材的精髓。
術 ” 的借鑒，他把明確的重點放在了創作過程和素材上。由於缺少 “ 藝術家的潤色 ”，何翔宇
雖然是一位年輕的藝術家，但是何翔宇已經創作了大量作品，這些作品的一致性和內
得 以 隱 匿 於 自 己 的 作 品 當 中 。這 位 藝 術 家 置 身 於 作 品 之 上 ，成 為 物 質 和 精 神 之 間 積 極 而 隱 形 的 “ 介 質 ”。
聚力給我們留下了深刻的印象。以下的作品將向我們闡釋這位藝術家是怎樣不斷創造物體的表達 語言的。
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EXCLUSIVE COLUMN ?
’ s works An Introduction to He Xiangyu
002...何 翔 宇 藝 術 作 品 簡 介
008...藝 術 交 易 所 ： 投 機 者 的 新 天 堂 Art Exchange : The New Heaven for Speculators?
SPECIAL FEATURE 民營的非盈利美術館的成長與希望 —
歷史與當下的對話 —
Today Art Museum: The Growth and Hope of Non-Profit Private Art Museum
012...今 日 美 術 館
020...上 海 外 灘 美 術 館
尤倫斯當代藝術中心 —
Rockbund Art Museum: Conversation Between Past And Present?
028...故 事 還 在 繼 續
功利還是公益？ —
Story Continues— Ullens Centre for Contemporary Art
036...民 生 現 代 美 術 館
Minsheng Art Museum: For Profit or for Public?
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036
目錄
固定專欄 每期專題