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PRIVATE ART MUSEUMS – ENLIGHTENING FUTURE

(臺灣)王文志，〈茶壺風暴〉，2017，竹、茶葉渣、茶壺，尺寸依展出場地而異。藝術家提供。

PRIVATE MUSEUMS: HOW CAN THEY BRIDGE THE GAP WITH THE PUBLIC? 私人美術館：「民營非企業」何以擁抱公眾？

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‘I HAVE AN ART MUSEUM’- COLLECTING SUSTAINABILITY

台北觀點: 收藏私人美術館「我有一座美術館」美術館的永續經營作為最大收藏品

Publisher | Tam,Wai-Ping 譚偉平 Editor-in-chief | Anthea Fan,Wan-Jen 樊婉貞 Feature Writers | Stefanie 周婉京、Wu Mu Ching吳牧青、邱家和 Translator | Alan Chan 陳建濃

RE-EMBARKATION FROM THE HEART: THE MISSION OF ART TAIPEI 從「心」出發：台北藝博的使命專訪台灣畫廊協會理事長鍾經新

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PRIVATE PRIVATEMUSEUMS: MUSEUMS: HOW HOWCANCANTHEY THEYBRIDGE BRIDGETHETHEGAPGAP THETHEPUBLIC? PUBLIC? WITH WITH

私人美術館：私人美術館：「民營非企業」何以擁抱公眾？「民營非企業」何以擁抱公眾？

Translation: Li 文：周婉京圖：南通博物苑圖：南通博物苑 Translation: AngelAngel Li 文：周婉京

中國最早的博物館——南通博物苑新館中國最早的博物館——南通博物苑新館

PRIVATE ARTART MUSEUMS –– PRIVATE MUSEUMS ENLIGHTENING THETHE FUTURE ENLIGHTENING FUTURE

in theincity, establishing a comprehensive sphere the city, establishing a comprehensive In 1895, political activists in China mademade the thesphere In 1895, political activists in China system. collection system. establishment of museums one of four fourcollection establishment of museums onetheir of their priorities. KangKang Youwei considered publicpublic priorities. Youwei considered privately-owned museums in in In comparison, privately-owned museums cultural facilities such such as museums and art cultural facilities as museums and artIn comparison, 啟蒙「未來性」的私人美術館啟蒙「未來性」的私人美術館策劃 /策劃周婉京˙樊婉貞 / 周婉京˙樊婉貞 China fared well at the beginning, drawing China fared well at the beginning, drawing museums a symbol of social stability and museums a symbol of social stability and Anthea FanStefanie and Stefanie Anthea Fan and ChouChou publicpublic attention and sparking dialogues in in attention and sparking dialogues prosperity. ThreeThree years years later, later, the Hundred prosperity. the Hundredmuchmuch However, during the transition period, society. However, during the transition period, Days’Days’ Reform failedfailed and the repelled Reform andnew therulers new rulers repelledsociety. acrossacross the strait, the strait, from that fromwe that canwe see can thesee preferences, the preferences, Art organisations Art organisations get different get different identities identities in different in different they encountered a host of issues, including lax they encountered a host of issues, including lax the idea of establishing museums. In fact, the idea of establishing museums. In fact, investments investments and also andnational also national and historical and historical missions missions languages, languages, some some are called are called ‘galleries’, ‘galleries’, ‘institutes’, ‘institutes’, unclear direction and insufficient management, unclear direction and insufficient building museums went went far beyond a cultural building museums far beyond a culturalmanagement, of different of different capitalists. capitalists. SeeingSeeing this change this change in thein the othersothers are called are called ‘kunsthalle’, ‘kunsthalle’, ‘art centres’ ‘art centres’ and and flow. flow. The The flawed museum system in in capital flawed museum system affairaffair as it became a signa of yearning for social as it became sign of yearning for socialcapital ecology ecology of collecting of collecting allowsallows us to us understand to understand role role ‘art museums’. ‘art museums’. In Chinese, In Chinese, they are theyoften are often calledcalled is usually blamed for causing thesethese is usually blamed for causing change. As the government was unwilling change. AsQing the Qing government was unwillingChinaChina models models from from past and pastpresent, and present, from from whichwhich we can we can ‘art centres’ ‘art centres’ and ‘art andmuseums’, ‘art museums’, their difference their difference is is – tight political control over over publicpublic dilemmas – tight political control to settoupsetmuseums, the public shouldered the thedilemmas up museums, the public shouldered take reference take reference to think to think aboutabout the future. the future. simplified simplified and the and emphasis the emphasis is on their is onshared their shared feature feature capital. Nevertheless, obstacles facing private capital. Nevertheless, obstacles facing private duty as part of the effort to reform society. duty as part of the effort to reform society. – both– being both being publicpublic facingfacing organisations organisations that aim thattoaim to museums whenwhen they they try totryreach out to museums to reach outthe to the promote promote art. art. 在不同在文化不同語文化境中，藝語境中，藝術機構術有機不構同有的身不同份，它的身份，它 are often overlooked. If a museum fails fails are often overlooked. If a museum The The first museums in China’s recentrecent history first museums in China’s historypublicpublic 們可以被叫作” 們可以被叫作” gallery” gallery” 、“institute” 、“institute” ，也可以被喚，也可以被喚 the public through its exhibitions, it to engage the public through its exhibitions, it beganbegan to appear, thanks to funds contributed to appear, thanks to funds contributedto engage Following Following the recent the recent opening opening of Hao of Art HaoGallery Art Gallery 作”kunsthalle” 作”kunsthalle” 、 “art 、 “art centre” centre” 和 “art 和 “art museum” museum” 。。 cannot fulfil fulfil its purpose. Whether it is it is simply cannot its purpose. Whether by individuals. In 1905, businessman Zhang by individuals. In 1905, businessman Zhangsimply in Shanghai, in Shanghai, Song Song Art Gallery Art Gallery in Beijing in Beijing and Jut and Jut 當這些名稱轉譯成中文當這些名稱轉譯成中文，它們往往變成「藝術中心」，它們往往變成「藝術中心」 or notordoes not not doesmatter. not matter. Jian founded Nantong Museum, funded by theby thepublicpublic Jian founded Nantong Museum, funded Art Museum Art Museum in Taipei, in Taipei, there there is a call is atocall a ‘private to a ‘private 或「美或「美術館」術，簡館」化了彼，簡化了彼此的區此的區別，強調了它們別，強調了它們的的 profits of hisofbusinesses. Zhang established the the profits his businesses. Zhang established art museum art museum movement’. movement’. It is unknown It is unknown from from when when 共性——皆是以推廣藝術為主旨的公共機構。共性——皆是以推廣藝術為主旨的公共機構。 it is it common to divide museums Nowadays, is common to divide museums museum as a medium to pass on knowledge, museum as a medium to pass on knowledge,Nowadays, privateprivate museums museums beganbegan to gain to presence gain presence on the on the into into two types: privately-owned and and roughly two types: privately-owned complementary to theto new system. complementary the education new education system.roughly horizon horizon of theof public. the public. Sometimes Sometimes we call we them call them 隨著近期上海昊美術館隨著近期上海昊美術館、北京松美術館的開館、北京松美術館的開館、台北忠、台北忠 or public. The division aims aims to employ official or public. The division to employ Museums were were also also built built by individuals in inofficial Museums by individuals ‘private’, ‘private’, sometimes sometimes we call wethem call them ‘civilian-runs’ ‘civilian-runs’ and and 泰美術館的開幕，泰美術館的開幕，「私人美術館運動」「私人美術館運動」之呼聲再起。不之呼聲再起。不 approach towards the operation a ‘dualistic’ approach towards the operation Tianjin and Beijing during the same period. Tianjin and Beijing during the same period. a ‘dualistic’ ‘non-public’. ‘non-public’. WhatWhat is trueis istrue thatis the thatrelationship the relationship 知道從什麽時候開始，私人美術館已經成為公眾視野知道從什麽時候開始，私人美術館已經成為公眾視野 structure. The The approach is based on the structure. approach is based on fact the fact between between art museums art museums and the andcultural the cultural ecology ecology has has 裡的一個存在。有時，我們稱它為私人的，有時稱它為裡的一個存在。有時，我們稱它為私人的，有時稱它為 private museums are seen nonthat China’s private museums are as seen as nonInterestingly, time time has not running Interestingly, has made not made runningthat China’s never never been clarified been clarified – is it –anis antagonistic it an antagonistic one, or one, is or is 民營或非公眾的民營或非公眾的，卻從未真正釐清過它作為美術館與文，卻從未真正釐清過它作為美術館與文 Moreover, privately-run organisations do do Moreover, privately-run organisations museums any easier as these first generation museums any easier as these first generationprofit.profit. it an integration, it an integration, or is itora isbitit of a bit both? of both? To theTofuture the future 化生態的關係——究竟是對抗化生態的關係——究竟是對抗，還是融合，還是融合，抑或兩者兼，抑或兩者兼 engaging the public. not prioritise engaging the public. museums and and private museums nowadays museums private museums nowadaysnot prioritise of artofmuseums, art museums, knowledge knowledge and wisdom and wisdom are going are going 具？至於美術館之未來，智識具？至於美術館之未來，智識（智慧與知識）（智慧與知識）的啟蒙似的啟蒙似 face similar challenges and limitations. For face similar challenges and limitations. For to be to thebekey thetokey understand to understand them them and toand unlock to unlock the the 乎已經成為開啟它學術性乎已經成為開啟它學術性、實驗性的鑰匙。、實驗性的鑰匙。 the millennium, TodayToday Art Museum the millennium, Art Museum example, heavyheavy dependence on disorganized example, dependence on disorganizedAfterAfter possibility possibility to experiment. to experiment. as a non-profit art organisation, was registered as a non-profit art organisation, artpiece accumulation, short-term planning, artpiece accumulation, short-term planning,was registered am post此次邀請客席策展人與編輯團隊一起規劃此 am post此次邀請客席策展人與編輯團隊一起規劃此 in China. It is It no islonger the of firstitsofkind its kind in China. no longer smallsmall economic base and A look economic baseself-regulation. and self-regulation. A lookthe first am post amhas post invited has invited guest guest curators curators to collaborate to collaborate with with 專輯，並在10月號刊以及2017年10月台北藝博會專刊專輯，並在10月號刊以及2017年10月台北藝博會專刊 as a limited company (its predecessor registered as a limited company (its predecessor at some modern museums in theinWest can give at some modern museums the West can giveregistered the editorial the editorial team on team thisonfeature, this feature, it will itbewill published be published 中共同聯合登載此專輯中共同聯合登載此專輯，希望藉著不同觀點，希望藉著不同觀點、不同身分、不同身分 as such). A closer look look at artat art was registered as such). A closer us some insights. The Guggenheim and MoMA us some insights. The Guggenheim and MoMAwas registered in theinOctober the October issue issue and the andArt the Taipei Art Taipei specialspecial 的討論，的討論，就現今中國內地與台灣的就現今中國內地與台灣的「私人美術館」「私人美術館」議題議題 reveals threethree types.types. The The first first type type museums reveals were were privately run inrun its in initial stages. However, privately its initial stages. However,museums issue in issue October in October 2017. 2017. We hope We to hope discuss to discuss the topic the topic 共同探討。我們不談歷史共同探討。我們不談歷史，不談華麗的外表；針對，不談華麗的外表；針對「私「私 by private enterprises and operated is funded by private enterprises and operated they they gradually transformed themselves gradually transformed themselvesis funded of ‘private of ‘private art museums’ art museums’ in mainland in mainland ChinaChina and and 人美術館」人美術館」在兩地的定義，在兩地的定義，不同背景下成立與資金的來不同背景下成立與資金的來 Minsheng Art Museum and Today privately. Minsheng Art Museum and Today into into publicpublic entities as they were were funded by byprivately. entities as they funded Taiwan Taiwan today today from the from perspectives the perspectives of art of museums’ art museums’ 源，文化資本與歷史意義等源，文化資本與歷史意義等，看到兩岸各自的文化特點，看到兩岸各自的文化特點，， belong to this category. The The Art Museum belong to this category. government subsidies and and operated aligned government subsidies operated alignedArt Museum different different identities. identities. Our focus Our focus is not is onnot their onhistories their histories 也看到不同資本家透過喜愛、投資、國家及歷史任務，也看到不同資本家透過喜愛、投資、國家及歷史任務， second type is funded by the government second type is funded by the government with state policies. They then evolved and with state policies. They then evolved and nor their nor spectacular their spectacular appearances, appearances, ratherrather we focus we focus 與收藏生態的自然演變與收藏生態的自然演變，各有一本穿梭古今的歷史與當，各有一本穿梭古今的歷史與當 privately, with with Liu Haisu Art Art and operated privately, Liu Haisu saw their own value of cultivating the cultural saw their own value of cultivating the culturaland operated on theondifferent the different definitions definitions of ‘private of ‘private art museum’ art museum’ 今典範今典範，讓我們深思不已，讓我們深思不已，並以此借鏡。，並以此借鏡。

ASIAASIA PACIFIC PACIFIC ARTARTFAIRFAIR1111 2017-18 2017-18

月月 1010

月月 1111

OCTOBER OCTOBER

Guardian Fine Art Guardian Fine Art Asia 2017 Asia 2017 2017嘉德典雅藝術周 2017嘉德典雅藝術周 October 25-29 25-29 October Taipei Taipei Art Photo Art Photo 2017台北藝術攝影博覽會 2017台北藝術攝影博覽會 October 28-30 28-30 October

20172017 Shenzhen International Art Art FairFair Shenzhen International 2017深圳國際藝術博覽會 2017深圳國際藝術博覽會

月月 1212

NOVEMBER NOVEMBER

Print Hong Zine Kong&Zine & Print SHENZHEN CONVENTION & Hong SHENZHEN CONVENTION & Kong Fest 2017 Fest 2017 EXHIBITION CENTER EXHIBITION CENTER 香港圖像藝術節香港圖像藝術節深圳會展中心深圳會展中心 November 25-December 6 November 25-December 6 NOVNOV 25 - NOV 28 28 25 - NOV Seoul Design Festival Seoul Design Festival

ART KAOHSIUNG ART KAOHSIUNG 2017 2017 高雄藝術博覽會2017 高雄藝術博覽會2017 December December 8-10 8-10

首爾設計節首爾設計節

Ink2017 Asia 2017 Ink Asia 2017水墨藝博 2017水墨藝博 December December 15-17 15-17

Shenzhen International Art Fair jointlyjointly organized by theby Art CenterCenter of Ministry of Culture Shenzhen International Art(SIAF)is Fair (SIAF)is organized theDevelopment Art Development of Ministry of Culture December 7-11 7-11 December of the of People’s Republic of China and Shenzhen City Enterprise. It has It always upholduphold the concept of promoting the the the People’s Republic of China and Shenzhen City Enterprise. has always the concept of promoting original art, introduced outstanding artisticartistic resources in mainland ChinaChina and abroad, revitalized for thefor artistic vitalityvitality original art, introduced outstanding resources in mainland and abroad, revitalized the artistic of Shenzhen into a into strong , and vigorously promoted the local To continue the concept of of ART of Shenzhen a strong , and vigorously promoted thearts localDevelopment. arts Development. To continue the concept of of ART 月 NOVEMBER 月 NOVEMBER for HOME held last year, will it interpret this concept in depth with various perspectives. The concept of the of ART for HOME held lastityear, will interpret this concept in depth with various perspectives. The concept the for ART for 月月 JANUARY JANUARY 月月 FEBRUARY FEBRUARY HOME is to bring to real life bylife highlighting artworks underunder 20,000rmb. That encourages many many art lovers to startto start HOME is to art bring art to real by highlighting artworks 20,000rmb. That encourages art lovers Abu Dhabi Abu Dhabi Art Art their very of art. of The fairart constitutes of twoof parts: they are ART HOME and ART Tomorrow theirfirst verycollection first collection art.art The fair constitutes two parts: they are for ART for HOME and for ART for Tomorrow 阿布扎比藝博會阿布扎比藝博會 Singapore Art Week DhakaDhaka Art Summit Singapore Art Week Art Summit - Young ArtistsArtists Recommendation Exhibition respectively. ART for HOME will combine the social multi-faceted and and - Young Recommendation Exhibition respectively. ART for HOME will combine the social multi-faceted November November 8-11 8-11 新加坡藝術週達卡藝術高峰會新加坡藝術週達卡藝術高峰會 multi-industry resources with the sitethe experience exhibition, and will explore the possibility of “cross-border” art, but multi-industry resources with site experience exhibition, and will explore the possibility of “cross-border” art, but JanuaryJanuary 17-28 17-28 February 2-10 2-10 February ART021 ART021 a morea innovative manifestation of exhibition. This section recommends artistsartists whosewhose ages are around also attempt more innovative manifestation of exhibition. This section recommends ages are around 上海廿一當代藝術博覽會 also attempt 上海廿一當代藝術博覽會 Singapore Contemporary India Art Fair Singapore Contemporary India Art Fair 20-4020-40 years old, of their between 5000-50000. It provides a high-end platform for up-coming yearswith old,prices with prices ofartworks their artworks between 5000-50000. It provides a high-end platform for up-coming November November 9-12 9-12 亞太區藝術博覽會亞太區藝術博覽會 Art Show 印度藝術展 Art Show 印度藝術展 stars and chance for artfor lovers to starttotheir starsalso anda also a chance art lovers startcollection. their collection. 新加坡當代藝術展 February 9-12 9-12 新加坡當代藝術展 February West Art Bund Art & Design West Bund & Design JanuaryJanuary 19-21 19-21 深圳國際藝術博覽會是由文化部藝術發展中心和深圳市企業聯合舉辦，一直秉持著推廣原創藝術的理念，不斷引深圳國際藝術博覽會是由文化部藝術發展中心和深圳市企業聯合舉辦，一直秉持著推廣原創藝術的理念，不斷引西岸博覽會西岸博覽會 India Art Festival India Art Festival November November 10-12 10-12 入國內外優秀藝術資源，振興深圳的藝術活力，大力推動了本地的藝文發展。延續上一屆「藝術•家」的概念，深入國內外優秀藝術資源，振興深圳的藝術活力，大力推動了本地的藝文發展。延續上一屆「藝術•家」的概念，深 Art Stage 印度藝術節 Art Singapore Stage Singapore 印度藝術節入及多方位的進行詮釋。「藝術•家」的概念是將藝術真正帶進生活，推出兩萬以內作品推薦，鼓勵更多藝術愛好入及多方位的進行詮釋。「藝術•家」的概念是將藝術真正帶進生活，推出兩萬以內作品推薦，鼓勵更多藝術愛好藝術登陸新加坡 February 15-18 藝術登陸新加坡 February 15-18 Downtown Downtown DesignDesign JanuaryJanuary 25-28 25-28 November November 14-17 14-17 者開啟了人生第一次藝術收藏。藝博會主要由兩個主題展組成，分別是「藝術•家」現場體驗展和「未來之星」青青者開啟了人生第一次藝術收藏。藝博會主要由兩個主題展組成，分別是「藝術•家」現場體驗展和「未來之星」年藝術家推薦展。「藝術•家」現場體驗展將結合社會多層面、多行業的資源，探索藝術「跨界」的可能性，亦為年藝術家推薦展。「藝術•家」現場體驗展將結合社會多層面、多行業的資源，探索藝術「跨界」的可能性，亦為 Affordable Art Fair Affordable Art Fair 藝術博覽會的呈現方式進行更創新的嘗試。「未來之星」青年藝術家推薦展將聚焦當下青年藝術家的創作，推薦藝術博覽會的呈現方式進行更創新的嘗試。「未來之星」青年藝術家推薦展將聚焦當下青年藝術家的創作，推薦 Singapore Singapore 新加坡買得起藝博會新加坡買得起藝博會 20-40歲左右青年藝術家，作品價格區間5000-50000，為國內外當代新晉青年藝術家提供推廣平臺，同時也為新 20-40歲左右青年藝術家，作品價格區間5000-50000，為國內外當代新晉青年藝術家提供推廣平臺，同時也為新 November November 17-19 17-19 晉藏家提供價格適宜的藝術品，讓藝術愛好者充分體驗收藏藝術品的樂趣及滿足感。晉藏家提供價格適宜的藝術品，讓藝術愛好者充分體驗收藏藝術品的樂趣及滿足感。

Museum beingbeing one example. Private museums Museum one example. Private museums businesses businesses tried tried to remedy to remedy society society and and are the type type funded by individuals and and are third the third funded by individuals how individuals how individuals pursued pursued their their interests. interests. the government. As a As hybrid between the first the government. a hybrid between the first It represents It represents the “otherness” the “otherness” in theinold the old two types, government policies and the two types, government policies andpublic the public China’s China’s national national capital capital and also and during also during support private museums. Yet, its positioning is support private museums. Yet, its positioning is the turmoil the turmoil times.times. ambiguous – it is –neither 100%100% private nor stateambiguous it is neither private nor stateth owned. ThenThen what what exactly is theissubjectivity of of owned. exactly the subjectivity In the In 20 the 20th century, century, museums museums are no are no a museum? Postmodernists against subjectivity a museum? Postmodernists against subjectivity longerlonger merely merely a space a space for collection for collection wouldwould certainly objectobject to thetovalidity of posing certainly the validity of posing and exhibition. and exhibition. It hasItbecome has become a multia multithis question. However, whilewhile exploring the the this question. However, exploring purpose purpose and comprehensive and comprehensive organisation organisation definitions of artofmuseums as anas organic wholewhole definitions art museums an organic for passing for passing on knowledge on knowledge and heritage. and heritage. and their relationship with with people, we cannot and their relationship people, we cannot Art museums Art museums are evolving; are evolving; so aresoartists are artists evadeevade the question. the question. and the andaudience. the audience. As I.M.Pei As I.M.Pei statesstates in a in a book book on museum on museum architectural architectural design, design, The The Private Art Museum Report released in in Private Art Museum Report released “Public “Public interest interest in museums in museums has risen has risen early early 2016 2016 indicates that there are a are totala of 317of 317 indicates that there total drastically. drastically. It makes It makes museums museums more more private contemporary art museums around the the private contemporary art museums around than than just just placesplaces for art forshowcase art showcase only. only. world,world, 26 of 26 which are inare China. That That is 8%isof8% of of which in China. TheyThey have become have become a space a space wherewhere people people the total and 65% these museums in in the number total number and of 65% of these museums comecome together.” together.” In artInmuseums, art museums, artistsartists ChinaChina were were built built in theinpast Despite the five pastyears. five years. Despite engage engage the public, the public, bridging bridging the gap the gap the flattering numbers, museums founders the flattering numbers, museums founders with with them them in aesthetics in aesthetics and intellect. and intellect. are constantly concerned aboutabout the following are constantly concerned the following That That is where is where the relationship the relationship between between issues: academic positioning, professionals and and issues: academic positioning, professionals museums museums and the andgeneral the general publicpublic growsgrows experts, curatorship direction, the relations experts, curatorship direction, the relations as an as artan museum art museum cannot cannot exist alone. exist alone. with with the government, admission fees, fees, utilities the government, admission utilities such such as electricity and water, etc. Recently, the the as electricity and water, etc. Recently, curator of a new museum confided in in curator of a private new private museum confided this writer that State Adminstration of Taxation 1895年維新人士建立的上海強學會將建設 1895年維新人士建立的上海強學會將建設 this writer that State Adminstration of Taxation required them them to pay TheyThey foundfound the the 博物館作為四項要務之一。康有為將博物物博物館作為四項要務之一。康有為將博 required to taxes. pay taxes. 中國第一座公共博物館南通博物苑中國第一座公共博物館南通博物苑 movemove perplexing as they why awhy not-a notperplexing as wondered they wondered 館、美術館等公共文化設施作為「太平世」館、美術館等公共文化設施作為「太平世」 for-profit organisation wouldwould be taxed. TheyThey for-profit organisation be taxed. 的重要標誌。三年之後，「百日維新」失敗，的重要標誌。三年之後，「百日維新」失敗， submitted to theto Administration the relevant 然而將「私立」視作「官方或公立」的他者，是時下然而將「私立」視作「官方或公立」的他者，是時下中的文化、衛生、公益事業中沒有列入「美術館」三中的文化、衛生、公益事業中沒有列入「美術館」三 submitted the Administration the relevant 「舉辦博物館」作為新政的主要內容，同樣遭到統「舉辦博物館」作為新政的主要內容，同樣遭到統 legal legal documents concerning non-profit 比較流行的一種表述方法。其目的也許是為了用二元比較流行的一種表述方法。其目的也許是為了用二元個字，因此美術館不屬於公益組織。個字，因此美術館不屬於公益組織。 documents concerning non-profit 治者的排斥。其時，舉辦博物館已不囿於一種文化治者的排斥。其時，舉辦博物館已不囿於一種文化 organisations. TheyThey endedended up with 對立的思維模式給自身的運營對立的思維模式給自身的運營「脫罪」「脫罪」。這種表述的。這種表述的 organisations. up the withfollowing the following 事務，而成為社會變革的籲請之聲。既然清政府不事務，而成為社會變革的籲請之聲。既然清政府不 reply:reply: in theinlegal ‘art museums’ are are 背後邏輯一方面來自大陸私立美術館的「民營非企背後邏輯一方面來自大陸私立美術館的「民營非企諸如此類的啼笑皆非的紛爭，消磨掉許多美術館掌諸如此類的啼笑皆非的紛爭，消磨掉許多美術館掌 the documents, legal documents, ‘art museums’ 願推動，舉辦公共博物館的責任就只能由民間的社願推動，舉辦公共博物館的責任就只能由民間的社 not included underunder the cultural, hygiene and and 業」身份，另一方面來自私人資本在擁抱公共性上的業」身份，另一方面來自私人資本在擁抱公共性上的門人的熱情。若熱情不再，長期從事一件不以盈利門人的熱情。若熱情不再，長期從事一件不以盈利 not included the cultural, hygiene 會改革力量來承擔。會改革力量來承擔。 charitable sectors and therefore they they do not 天然缺陷。天然缺陷。為目的的項目，對每個投入全副身家的經營者來說為目的的項目，對每個投入全副身家的經營者來說 charitable sectors and therefore do not countcount as a not-for-profit organisation. 都是磨難。一旦開始運營美術館，就要用真金白銀來都是磨難。一旦開始運營美術館，就要用真金白銀來 as a not-for-profit organisation. 民間資本的推動，造就了中國近代史上第一批民間民間資本的推動，造就了中國近代史上第一批民間千禧年後，今日美術館成為中國第一家民營非企業千禧年後，今日美術館成為中國第一家民營非企業供養它。有財力的投資人總將美術館視作「燙手山供養它。有財力的投資人總將美術館視作「燙手山美術館。1905年，實業家張謇創辦了南通博物苑。美術館。1905年，實業家張謇創辦了南通博物苑。

TheseThese absurd episodes have have mademade some some art art 美術館，它使用的執照不再是「有限責任公司」美術館，它使用的執照不再是「有限責任公司」（其（其芋」，一旦資金鏈發生斷裂，私人美術館很難找到接芋」，一旦資金鏈發生斷裂，私人美術館很難找到接 absurd episodes 博物苑的開辦和維持經費來自於其創辦的大生紗紗博物苑的開辦和維持經費來自於其創辦的大生 museum founders lose lose their their passion. If theIf the 之前的私立美術館均使用）之前的私立美術館均使用）。若細看。若細看「民營非企業」「民營非企業」手人。如果沒有專業運作美術館的經驗，將要消耗的手人。如果沒有專業運作美術館的經驗，將要消耗的 museum founders passion. 廠、星海墾牧公司等實業的贏利。張騫之所以創辦廠、星海墾牧公司等實業的贏利。張騫之所以創辦 passion is gone, it willit become a struggle for for 中「民營」一詞，我們會發現三種不同類型：一是以中「民營」一詞，我們會發現三種不同類型：一是以恐怕是金山銀山。當錢無處而來的時候，出租、轉租恐怕是金山銀山。當錢無處而來的時候，出租、轉租 passion is gone, will become a struggle 博物苑，是為了傳播近代科學知識，輔助新式學校教博物苑，是為了傳播近代科學知識，輔助新式學校教 thosethose who have invested their their lifelong savings 民生美術館、今日美術館為代表的民營企業出資、民生美術館、今日美術館為代表的民營企業出資、展覽場地便成了不得已的選擇。展覽場地便成了不得已的選擇。 who have invested lifelong savings 育，在民眾中普及科學文學知識。同一時期創立的私育，在民眾中普及科學文學知識。同一時期創立的私 to run especially whenwhen it does 民間運營的美術館；二是以劉海粟美術館為代表的民間運營的美術館；二是以劉海粟美術館為代表的 to an runartanmuseum, art museum, especially it does 人博物館還包括：嚴修在天津城隍廟開辦的教育陳人博物館還包括：嚴修在天津城隍廟開辦的教育陳 not bring in much profits. OnceOnce you start, there there 公辦民營的美術館，由國有集體民營經濟支撐；三馬丁·馬丁布伯（Martin ·布伯（Martin Buber） Buber）在《我與你》中提出在《我與你》中提出 not bring in much profits. you start, 列室，端方在北京琉璃廠海王村開辦的陶博物館。列室，端方在北京琉璃廠海王村開辦的陶博物館。公辦民營的美術館，由國有集體民營經濟支撐；三 is no isturning back back and you to sustain it 是主要由個人經營的美術館，依賴財產混合所有制是主要由個人經營的美術館，依賴財產混合所有制「你—我關系本體論」「你—我關系本體論」，他這樣寫道：，他這樣寫道：「沒有孑然獨「沒有孑然獨 no turning and have you have to sustain it financially month after after month. Investors always 民營經濟。民營與國有資本的分野趨近於曖昧的狀民營經濟。民營與國有資本的分野趨近於曖昧的狀存的『我』存的『我』，僅有原初詞『我—它』，僅有原初詞『我—它』中的『我』中的『我』。泰初。泰初 financially month month. Investors always 有趣的是，這些早期博物館具有的「通病」仍困擾著有趣的是，這些早期博物館具有的「通病」仍困擾著 see art as a tricky field. field. If theIfcapital 態，僅以國有集體民營經濟運作下的美術館為例，態，僅以國有集體民營經濟運作下的美術館為例，（太初）（太初）既有關係。既有關係。」回看清廷最後的日子，實業家」回看清廷最後的日子，實業家 seemuseums art museums as a tricky the capital 當今的私立美術館，例如：過分依靠原發性積累、短當今的私立美術館，例如：過分依靠原發性積累、短 flow runs into any problems, it willit be 它作為「混血兒」同時享受政策扶持與民間支持，它作為「混血兒」同時享受政策扶持與民間支持，張謇不知道他所展示的藝術將會如何影響公眾，但張謇不知道他所展示的藝術將會如何影響公眾，但 flow runs into sort any of sort of problems, will be 期的個人行為、經濟基礎基數小、創始人自行管理。期的個人行為、經濟基礎基數小、創始人自行管理。 extremely difficult to find willing to take 但也因此模糊了它的定位— 但也因此模糊了它的定位— —既非「私立」 —既非「私立」又非「國又非「國他無法再壓制自己想與公眾分享的心情。南通博物他無法再壓制自己想與公眾分享的心情。南通博物 extremely difficult toanyone find anyone willing to take 若與西方立美館的表相會發會發若與現代西方私現代私術立美術代館的代較，我們表相較，我們 it over. Without the experience of running an an 有」，那麼美術館的主體性究竟是什麽？當然，反對有」，那麼美術館的主體性究竟是什麽？當然，反對苑的出現，有著實業救國與安身立命的雙重意味，它苑的出現，有著實業救國與安身立命的雙重意味，它 it over. Without the experience of running 現，古根海姆博物館和紐約現代美術館在起步初期現，古根海姆博物館和紐約現代美術館在起步初期 art museum professionally, it is bound to cost 主體性論述的後現代主義者會質疑這個提問的合理主體性論述的後現代主義者會質疑這個提問的合理是舊中國國家資本的「他者」是舊中國國家資本的「他者」，也是動蕩時局的「他，也是動蕩時局的「他 art museum professionally, it is bound to acost 也曾依靠個人資本；中期開始轉型，從私人性轉向公 a 也曾依靠個人資本；中期開始轉型，從私人性轉向公 fortune. Leasing or sub-leasing is theisonly 性，但現階段我們探討美術館作為有機整體、探尋性，但現階段我們探討美術館作為有機整體、探尋者」。者」。 fortune. Leasing or sub-leasing the way only way 共性，並緊密依靠國家資源及政策，擔負起更多社共性，並緊密依靠國家資源及政策，擔負起更多社 out when financial issuesissues arise.arise. 美術館與人的關係仍然繞不開「美術館是什麼」的美術館與人的關係仍然繞不開「美術館是什麼」的 out when financial 會責任；後期重視對地區文化生態的輻射，並建立會責任；後期重視對地區文化生態的輻射，並建立思考。思考。

相對成熟的館藏系統。相對成熟的館藏系統。

20世紀的博物館不再是單純的收藏和展示空間，而 20世紀的博物館不再是單純的收藏和展示空間，而

In “IInand Martin BuberBuber makesmakes the the 變成多功能、全方位傳承文明的機構。隨之，變成多功能、全方位傳承文明的機構。隨之，「我」「我」 “I Thou”, and Thou”, Martin proposition aboutabout the relationship between “I” “I” 去年年初發布的《全球私人美術館調查報告》中顯去年年初發布的《全球私人美術館調查報告》中顯在變化，它可以指美術館，還可以指藝術家與觀眾。在變化，它可以指美術館，還可以指藝術家與觀眾。 proposition the relationship between 相比之下，中國私立美術館在初期階段表現良好，吸相比之下，中國私立美術館在初期階段表現良好，吸 and “Thou”, stating that there is no isabsolute 示，目前全球共有317座私人創建的當代藝術博物示，目前全球共有317座私人創建的當代藝術博物正如貝聿銘在《博物館建築設計》中所言：正如貝聿銘在《博物館建築設計》中所言：「公眾對「公眾對 and “Thou”, stating that there no absolute 引很多社會關註和討論，但到了中期轉型時，總會出引很多社會關註和討論，但到了中期轉型時，總會出 “I” as“I” “I”asimplicitly existsexists in “I-It” relationships 館，中國大陸地區共26座，占總數的8％。其中65％館，中國大陸地區共26座，占總數的8％。其中65％博物館的興趣最近提高得如此之快，使得博物館變博物館的興趣最近提高得如此之快，使得博物館變 “I” implicitly in “I-It” relationships 現管理鬆散、發展方向混亂、資金運轉不暢的問題。現管理鬆散、發展方向混亂、資金運轉不暢的問題。 whichwhich have have been been around since since the beginning 的中國私立美術館在最近5年內建成。漂的中國私立美術館在最近5年內建成。漂亮的數據亮的數據得比「藝術貯藏室」的意義廣泛得多，它們已經成為得比「藝術貯藏室」的意義廣泛得多，它們已經成為 around the beginning 不少人將中國私立美術館遭遇的困境簡單視作「中不少人將中國私立美術館遭遇的困境簡單視作「中 of theof Universe. In the of theof Qing 背後，博物館創辦人終日憂心著：學術定位、專業人背後，博物館創辦人終日憂心著：學術定位、專業人公眾聚集的場所。公眾聚集的場所。」在美術館，藝術家將觀眾引導出」在美術館，藝術家將觀眾引導出 the Universe. In last the days last days the Qing 國博物館體系的欠缺」，責難政治生態對民營資本國博物館體系的欠缺」，責難政治生態對民營資本 Dynasty, businessman Zhang Jiang Jiang had no idea 士、策展方向、政府關係、門票定價、水電費用等問士、策展方向、政府關係、門票定價、水電費用等問來，克服兩個人在審美與智力間的不平等。然後，真來，克服兩個人在審美與智力間的不平等。然後，真 Dynasty, businessman Zhang had no idea 的過分管控，而無視私立美術館在發展公共性上遭的過分管控，而無視私立美術館在發展公共性上遭 how the displayed wouldwould have have an impact 題。近期，一間新晉私人美術館的館長告訴筆者，不題。近期，一間新晉私人美術館的館長告訴筆者，不正的公共性才開始萌芽，而美術館從不孑然獨存。正的公共性才開始萌芽，而美術館從不孑然獨存。 howart theheart he displayed an impact 遇的阻力。如果一間美術館無法通過它的展覽與公遇的阻力。如果一間美術館無法通過它的展覽與公 on the public. However, he could no no 久前曾有稅務找上門來。館方十分不解，為何非營利久前曾有稅務找上門來。館方十分不解，為何非營利 on general the general public. However, he could 眾形成有效溝通，它將難以實現美術館的作用，無眾形成有效溝通，它將難以實現美術館的作用，無 longerlonger suppress his wish to share with with others. 組織還要交稅？他們將公益組織的相關法規呈遞給組織還要交稅？他們將公益組織的相關法規呈遞給 suppress his wish to share others. 論它是公立的或私立的。論它是公立的或私立的。 Nantong Museum embodies two meanings: how how 稅務部門，卻得到稅務給還的答覆：相關規定條文稅務部門，卻得到稅務給還的答覆：相關規定條文 Nantong Museum embodies two meanings:

INKINK ASIAASIA 20172017

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HONG KONG CONVENTION ANDAND HONG KONG CONVENTION EXHIBITION CENTER EXHIBITION EXHIBITION CENTER EXHIBITION 香港會議展覽中心展覽廳香港會議展覽中心展覽廳印度藝術展印度藝術展 DECDEC 15 - DEC 17 17 15 - DEC

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ArtPhilippines Fair Philippines Art Fair MUMBAI MUMBAI 1-4 March March 1-4 孟買孟買 Art Fair Tokyo Art Fair Tokyo FEB FEB 9- FEB 12 12 9- FEB 東京藝術博覽會東京藝術博覽會 March March 8-11 8-11

The goal the of Irkthe Asia to develop a professional and open for appreciating ink art. It art. will It bring India India Art Festival (IAF),(IAF), a contemporary art fairart founded in 2011 a new for for Theofgoal IrkisAsia is to develop a professional andplatform open platform for appreciating ink will galleries bring galleries Art Festival a contemporary fair founded in is2011 is amodel new model Art Dubai Art Dubai and artists from Hong Kong Kong and other countries, and will a widearange of different forms forms of ink of art. dialogue and collaborations between art galleries, art dealers, art buyers, artists,artists, interior and artists from Hong and Asian other Asian countries, anddisplay will display wide range of different ink art. dialogue and collaborations between art galleries, art dealers, art buyers, interior 杜拜藝術博覽會杜拜藝術博覽會 March March 21-24 21-24 Through this platform it will integrate the business with the academic, and will deepen the audience’s understanding designer, architects and artand connoisseurs. IAF isIAF the only art fairart in fair India Through this platform it will integrate the business with the academic, and will deepen the audience’s understanding designer, architects art connoisseurs. is thecontemporary only contemporary in India of ink of art, promote the inkthe arts the to international arena.arena. This year, from Korea and Japan, and and hosting two annual editions at Mumbai and New The coming IAF will held inkand art,toand to promote inktoarts the international Thisgalleries year, galleries from Korea and Japan, hosting two annual editions at Mumbai andDelhi. New Delhi. The coming IAFbewill be held Asia Contemporary Asia Contemporary Art Art galleries based based in London and Hong Kong Kong will participate in the in artthe fair. and curators jointlyjointly organise from November 23 to 23 26,to2017 New whereas the Mumbai editionedition will bewill be galleries in London and Hong will participate artAcademics fair. Academics and curators organise from November 26, in 2017 in Delhi, New Delhi, whereas the Mumbai Show Show 亞洲當代藝術展亞洲當代藝術展 three themes of the of artthe fairart including the Taiwan Pavilion, the China Pavilion, and the Hong Kong Kong Ink +.Ink There organised from February 15 - 18, features curated ‘Conversations’ a two-a twothree themes fair including the Taiwan Pavilion, the China Pavilion, and the Hong +. There organised from February 152018. - 18, IAF 2018.also IAF also features curated ‘Conversations’ March March 23-26 23-26 are two One isOne Highlight. Another one is one Spotlight. Another important element is the academic days educative seminar - a series panel offering expertexpert perspectives on theon the aremore two units more added. units added. is Highlight. Another is Spotlight. Another important element is the academic days educative seminar - a of series of discussions panel discussions offering perspectives Photo Photo MacauMacau forumforum that isthat Dialogues on Ink. audiences who visit Inkthe Asia not only beautiful artworks and and subjects ranging from the contemporary art andart the economy, art collection, exhibitions, is Dialogues onHopefully, Ink. Hopefully, audiences whothe visit Inkwill Asia will notsee only see beautiful artworks subjects ranging from the contemporary and the economy, art collection, exhibitions, 影像澳門影像澳門 wonderful ink performance, but they the development of ink of painting through the interpretation to art to galleries and infrastructure. The speakers invitedinvited at IAFatConversations include wonderful ink performance, butalso theyunderstand also understand the development ink painting through the interpretation art galleries and infrastructure. The speakers IAF Conversations include March March 25-28 25-28 of the of history of ink of artink by art theby curators and collectors. The director of Inkof Asia hoped that this year’s art art artists,artists, gallerists, museum directors, critics,critics, historians, institution-builders, cultural the history the curators and collectors. The director Inksaid Asiathat saidhethat he hoped that this year’s gallerists, museum directors, historians, institution-builders, cultural Art Central in Kong Hong Kong Art Central in Hong fair could build its ownitsbrand in the in Greater ChinaChina regionregion and get theget recognition and support of the of gallery and the organizers, editors, and publishers. fair could build own brand the Greater and the recognition and support the gallery and the organizers, editors, and publishers. 香港當代藝術展覽香港當代藝術展覽 artist in the in region. At theAt same could extendextend from the Greater ChinaChina regionregion to other regions. artist the region. the time, same ittime, it could from the Greater to Asian other Asian regions. 印度藝術節（IAF）是2011年成立的當代藝術博覽會，並且是藝術畫廊、藝術品經銷印度藝術節（IAF）是2011年成立的當代藝術博覽會，並且是藝術畫廊、藝術品經銷 March March 27-31 27-31 水墨藝博的目標在於開拓一個專業和開放的水墨藝術欣賞平台，為觀眾帶來香港及其他亞洲國家的畫廊及藝商、藝術品買家、藝術家、室內設計師、建築師和藝術鑑賞家之間的對話與合作的水墨藝博的目標在於開拓一個專業和開放的水墨藝術欣賞平台，為觀眾帶來香港及其他亞洲國家的畫廊及藝商、藝術品買家、藝術家、室內設計師、建築師和藝術鑑賞家之間的對話與合作的 Art in Basel in Kong Hong Kong Art Basel Hong 術家，展示廣泛且不同形式的的水墨藝術品。透過這個平台將商業和學術接軌，深化觀眾對水墨藝術的認識，新模式。IAF是印度唯一的當代藝博會，分別在孟買和新德里兩地舉辦年度展。即將術家，展示廣泛且不同形式的的水墨藝術品。透過這個平台將商業和學術接軌，深化觀眾對水墨藝術的認識，新模式。IAF是印度唯一的當代藝博會，分別在孟買和新德里兩地舉辦年度展。即將香港巴塞爾藝術展香港巴塞爾藝術展並將水墨藝術推向國際舞台。今年有韓國、日本、以倫敦和香港為中心的畫廊來參與。展覽共三個主題，邀請來臨的IAF將於2017年11月23日至26日在新德里舉行，而孟買展將於2018年2月15 並將水墨藝術推向國際舞台。今年有韓國、日本、以倫敦和香港為中心的畫廊來參與。展覽共三個主題，邀請來臨的IAF將於2017年11月23日至26日在新德里舉行，而孟買展將於2018年2月15 March March 29-31 29-31 了學術界和策展人共同策劃，包括臺灣館、中國館、和香港的Ink+。這次加了兩個單元，一個叫做Highlight— 日至18日舉行。IAF還設有為期兩天的教育研討會「對話」一系列討論將為當代藝了學術界和策展人共同策劃，包括臺灣館、中國館、和香港的Ink+。這次加了兩個單元，一個叫做Highlight— 日至18日舉行。IAF還設有為期兩天的教育研討會「對話」一系列討論將為當代藝精選,一個叫Spotlight—聚焦。另外很重要的是元素就是學術的論壇—「Dialogues on Ink水墨對話」。希望。希望術和經濟、藝術收藏、展覽、藝術畫廊和基礎設施等方面提供專家觀點。IAF的「對「對精選,一個叫Spotlight—聚焦。另外很重要的是元素就是學術的論壇—「Dialogues on Ink水墨對話」術和經濟、藝術收藏、展覽、藝術畫廊和基礎設施等方面提供專家觀點。IAF的觀眾進入水墨藝博的時候，除了見到一些美麗的藝術作品和精彩的水墨表演，還可以透過策展人和藏家對水話」將邀請藝術家、畫廊藝術家、博物館館長、評論家、歷史學家、機構建設者、文化文化觀眾進入水墨藝博的時候，除了見到一些美麗的藝術作品和精彩的水墨表演，還可以透過策展人和藏家對水話」將邀請藝術家、畫廊藝術家、博物館館長、評論家、歷史學家、機構建設者、組織者，編輯和發行人。。墨歷史的梳理和分享，增加他們對水墨發展的認識。水墨藝博的總監許劍龍先生說他希望今屆的藝博能在大墨歷史的梳理和分享，增加他們對水墨發展的認識。水墨藝博的總監許劍龍先生說他希望今屆的藝博能在大組織者，編輯和發行人中華這個地區建立自己的品牌，得到地區裡面畫廊和藝術家的認同和支持，但同一時間從大中華地區也向其他中華這個地區建立自己的品牌，得到地區裡面畫廊和藝術家的認同和支持，但同一時間從大中華地區也向其他亞洲地區擴展。亞洲地區擴展。

Hong-Gah Museum 鳳甲美術館

Founded 18 years ago, Hong-Gah Museum has opened for 14 years. It has been an unusual player in the art ecology of Taiwan. Andrew Chew, a collector, entrepreneur and also art enthusiast, was persuaded by his friend Ma Shui-long to establish the foundation fund for Spring Autumn Music, which funded its bi-seasonal music production. Several years later, it was combined with his passion for visual art to give birth to Hong Gah Museum in Beitou.

「我有一座美術館」

‘I HAVE AN ART MUSEUM’

-COLLECTING SUSTAINABILITY

Over the last decade, Hong-Gah Museum has taken a simple and clear direction. It has a distinctive and well-regarded community operation with examples such as the Taiwan International Art Video Exhibition; the exhibition opportunities it has provided for contemporary artists; and being the venue for the curatorial projects of National Culture and Arts Foundation.

美術館的永續經營作為最大收藏品

PRIVRATE ART MUSEUM / TAIPEI’S P.O.V. 【收藏私人美術館．台北觀點】

Text: Wu Mu-Ching

Image: various organisations

Among those who run private museums in Taiwan, the snob outnumbers the devotees. There are countless museums in name. Since 2012, the newly established Taiwan Ministry of Culture has promoted the Museum Act and also the idea of setting up ‘quasi museums’ as a way of supporting cultural economy. But the porous policy together with the muddy idea of ‘quasi museums’ made only limited progress and have done little to professionalise civilian museum management. When speaking about civilian museums, apart from the well-known and artist-specific ones, Hong-Gah Museum, Taipei, is among the first that comes into conversations. Yu-Hsiu Museum of Art and Jut Art Museum opened their doors in 2016, both have been active in the Taiwanese art scene over the last decade and have accumulated sufficient experiences and trust to be publicly recognised as private art museums. 私人美術館的風尚與實質在台灣，附庸風雅者眾，致志經營者寡。徒有美術館名號而無其實者不計其數，自2012年台灣文化部甫設立時，一邊推動博物館法，一邊鼓吹「類博物館」（quasi museum）可以促進文化經濟，然則初上路的博物館法及其施行細則多有闕疏，「類博物館」定義始終妾身未明，導致文化部掛牌五年以來，對於民間博物館管理與專業化推動風氣功能始終有限，在台灣論起「私人美術館」，扣除主要為特定藝術家典藏展示的知名館所，主要即浮現台北的鳳甲美術館。2016年，毓繡美術館和忠泰美術館先後落成開幕，無論是毓繡或忠泰，在台灣的藝術界活動亦皆已十年左右，累積足夠的藝壇經驗與信任關係的能量，始穩步踏入公認的私人美術館之林。

ASIA PACIFIC ART FAIR 2017-18

亞太區藝術博覽會

3月

ART CENTRAL

香港當代藝術展覽

文：吳牧青

As Chairman Andrew Chew gets old, sustainable development becomes an important issue for Hong-Gah Museum. In the summer of 2017, an auction that grabbed the attention of the Taiwanese art world was done through Hua Nan Commercial Bank. Chew’s Culture Foundation has been passionate in supporting art events for over 20 years. In 2015, Andrew Chew underwent a big operation, after which he believed that the sustainability of the museum should take priority in its mission. The auction of his large collection allows him to transfer the proceeds through public trust into the operation funding for the museum.

圖：各機構

Hong-Gah Museum is unique in its professional exhibitions and collection: the exhibitions are extremely contemporary and include new media and videos. The collection is made up of five areas: the first includes paintings, watercolours, drawings, mixed media and printmaking; the second includes ink and calligraphy which form the backbone of the larger collection; the third includes Chairman Chew’s most widely known collection of treasures, which is a collection series of the four famous Chinese embroideries; the forth includes sculptures such as woodcrafts and bronzes and works by Auguste Rodin; the fifth is 台灣文獻畫 (Taiwanese Literati paintings? Documentary paintings?) – which perhaps relies on the support of the government policy on construction a Taiwan art history. In 庫房 other words, sustainable operation does not necessarily rely on proceeds from art auction, it is possible under the synergy of good and diverse collections coupled with professional management. On the other hand, other problems persist. Rare embroideries are prone to damage and the lack of conservators also make loan exhibition projects impossible. Perhaps these questions can only be resolved by the advancement on museum policies and laws and also other cultural economy policies.

鳳甲美術館「基進的書寫形式」展覽現場圖片提供｜鳳甲美術館

忠泰美術館不存在的地方展覽現場 (左起) 格雷戈里•克魯森〈無題（父親），冬〉，袁廣鳴〈城市失格─西門町白日、城市失格─西門町夜晚〉

MARCH

CENTRAL HARBOURFRONT EVENT SPACE 中環海濱活動空間 MAR 27 - MAR 31

The long-anticipated Hong Kong contemporary Exhibition ‘Art Central’ has always been aiming at seeking outstanding new blood in the area and to renowned art galleries all around the world. The exhibition this year has attracted participation of over 35,000 international art collectors, curators and art enthusiasts, infusing the Hong Kong Art Week with fresh and splendid atmosphere. In the coming Mar 27-31, Art Central will collaborate again with UOB to host the 4th Art Central at Central Harbourfront gathering over a hundred of new and established galleries in the two sections: Central and Rise. Artwork on display include ink arts, textile arts, photography, new media and street arts. Besides, all-rounded activities such as, large-scale installations, seminars, experimental films, avant-garde performances and kids’ activities etc., which are suitable for all ages in which you should never miss. 令人引頸以待的香港當代藝術展覽Art Central一直以網羅優秀新晉藝術菁英，同時服務來自全球各地的知名藝廊和空間為宗旨。今年的展覽吸引了超過35,000名國際收藏家、策展人及藝術愛好者進埸參觀，為香港藝術週注入絢爛的新氣色。Art Central將再度聯同合作伙伴UOB，於2018年於3月27至31日回歸中環海濱舉辦第四屆的展覽。過百間新銳藝廓及老牌藝術家，一同聚集在「藝壇萬象」和「新晉菁英」兩個展區裡，展出作品涵蓋水墨、紡織藝術、攝影、新媒體和街頭藝術等。另外還有大型裝置、研討會、實驗電影、前衛表演及兒童活動等等全方面的藝術活動，絕對老少咸宜，精彩不容錯過。

4月

APRIL

Art Busan 2018 釜山國際藝術博覽會 April 19-22

BIENNIALE 雙年展

ART BEIJING 藝術北京2018 April 29-May 2

月

MAY

Affordable Art Fair Hong Kong 香港買得起藝博會 May 18-20

8月

AUGUST

Art Jakarta August 2-5

9月

SEPTEMBER

Photofairs Shanghai 影像上海藝術博覽會 September 21-23

2017 Asian Art Biennial 台灣國立美術館「關鍵斡旋」亞洲雙年展 Sept 30,2017-Feb 25, 2018 1st Anren Biennale 第一屆安仁雙年展 Oct 1,2017-Jan 10, 2018 Jakarta Biennale 雅加達雙年展 November 4-December 12 Bi-City Biennale of Urbanism\ Architecture 深港雙城雙年展 Dec 15,2017-Mar 15, 2018

19 91

成立近18年，對外開館已14年的鳳甲美術館，在台灣藝術生態一向是奇特的異數，主事者一切因為收藏家兼企業家邱再興極度熱愛藝術，在好友馬水龍建議下，先以基金會名義設立「春秋樂集」，作為每年兩季為提供音樂創作發表的舞臺，數年後期望結合他熱愛的視覺藝術，便有了位在北投的鳳甲美術館。鳳甲美術館開館十餘年來，定位走向相對單純且明確，社區的經營路線也益為清晰而緊密，無論是舉辦「台灣國際錄像藝術展」或是提供當代藝術家的展覽舞台，和國藝會作為策展人專案的定期發表舞台，形象早已深植人心。而邱再興董事長有感年事已高，2017年夏天，為了鳳甲美術館朝向永續發展的使命，透過華南商業銀行進行拍賣，此舉受台灣藝壇關注與熱議。究其實，在於過往邱再興文教基金會設立20多年來，多以其對藝術活動的強烈熱情而添材旺火，但2015年的大手術讓他有感於美術館的永續性意義應高於前，因此毅然決意拍賣大量收藏品，預期將拍賣所得透過公益信託的方式，移轉為美術館經營的經費。鳳甲美術館獨特之處在於，它的展示與館藏專業度幾乎來自兩個全然不同的方向︰展覽面貌極度趨向當代、新媒體與錄像。收藏品的五大部門，一為油畫、水彩、素描、混合媒材及版畫；二為的水墨、書畫為主，此面向亦為館藏大宗；第三則為邱再興董事長個人最著稱的收藏珍寶，涵括了中國四大名繡的刺繡系列收藏；四為木雕、銅塑等類的立體雕塑收藏，羅丹的館藏精品，在2017年的拍賣名單之列；五則是台灣文獻畫，此一部份可能有賴官方對台灣藝術史建構的政策相互輔助。亦即，其實要永續經營，也不盡然是得透過典藏品拍賣取得美術館的新活水，諸如經典典藏品的合作活用，透過專業經理人的管理來經營企業會員的可能性，而稀有刺繡作品因懼於損害的風險和刺繡修復師已近於絕跡，導致也無借展的計畫，這些問題，可能也有賴博物館政策與法規推動和文化資產鏈結的資源政策。

2017 ASIAN ART BIENNIAL

台灣國立美術館「關鍵斡旋」亞洲雙年展 The Asian Art Biennale will feature “Asia,” as an observation, research and exploration field, and introduce the trend of contemporary art in Asia. This builds a platform for sharing and communication, giving the views of the diversity, beliefs, values, culture and art that exist in the Asian region. The theme of the exhibition is “Negotiation”, which reflects currently restless social status in Asia. The 2017 Asian Art Biennale attempts to explore the events happened in Asia in recent years, and the restlessness of the society, to reflect the desire for changing the society in the 21st century with a rapid development of science and technology and the changes in political and economic forces through the artworks of the exhibitors. The exhibition includes works such as the diversity of contemporary creation in term of painting, installation, video, performing art, and creative workshops and so on. 展覽以「亞洲」作為一種觀察、研究、探索的視野，介紹亞洲區域當代藝術發展趨勢，希望藉此搭建一個分享及溝通的平台，讓存在於亞洲區域內多樣性的觀點、信仰、價值、文化及藝術的樣態。此次展覽以「關鍵斡旋」為展題，反映當下亞洲焦躁不安的社會現狀。「2017亞洲藝術雙年展」企圖藉由參展藝術家的作品，探討亞洲各地近年發生的事件，以及社會潛在壓抑的躁動氛圍，反映21世紀在科技快速進展與政經勢力的變化中人們企求改變社會的渴望。本展展出作品包含當代創作的多元性，囊括繪畫、裝置、影像、行為表演，以及創作工作坊等。

Chiayun, Wu, darkness within darkness, HD Color 16:9, Papers, 2016 吳家昀, 空, HD Color 16:9, 紙, 2016

RE-EMBARKATION FROM THE HEART: THE MISSION OF ART TAIPEI

ART TAIPEI SELECTED ARTISTS ART TAIPEI 精選藝術家

ART TAIPEI EVENT HIGHLIGHT ART TAIPEI 重點節目

從「心」出發：台北藝博的使命專訪台灣畫廊協會理事長鍾經新

Art Map Limited

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Publisher | Tam,Wai-Ping 譚偉平 Editor-in-chief | Anthea Fan,Wan-Jen 樊婉貞 Feature Writers | Stefanie 周婉京、Wu Mu Ching吳牧青、邱家和 Translator | Alan Chan 陳建濃

RE-EMBARKATION FROM THE HEART: THE MISSION OF ART TAIPEI Text: Editorial team

從「心」出發：台北藝博的使命

文：編輯部

CHUNG CHINGHSIN – ART TAIPEI DIRECTOR 專訪台灣畫廊協會理事長鍾經新

Inheritance and Innovation: The New Ethos of Present Art Galleries

傳承與創新：現今藝術畫廊之新氣象 The 24th Taipei international art exposition ‘Art Taipei 2017’ will be held in Taipei World Trade Center during October 20-23. The main theme of this year’s exposition will be ‘The Rise in Private Art Museums’, to promote the multifaceted outlook of Asian art galleries, analyze the trend of the global art market, and explore the future of Asian art galleries. The coming exposition will amass more than 123 art galleries from 15 countries, including 63 from Taiwan, 18 from China and Hong Kong, 23 from Japan and Korea, and 7 from South-east Asia. Among them 14 international galleries are first-time participants and over 3000 art works will be exhibited. To sharpen the different themes, the previously four exhibition zones will be reduced to three, including ‘Art Gallery Varieties’, ‘Art Frontiers’ and ‘Art Scope without Boundaries’, accompanied by the special areas ‘New Artists’ Debuts’ and ‘MIT New Artists’ Special Zone’. 第 24 屆的「台北國際藝術博覽會 ART TAIPEI 2017 」即將於 10 月 20 至 23 日假台北世界貿易中心一館舉行。本屆以「私人美術館崛起」為主題，推廣亞洲藝廊的多元化風貌，分析國際藝術市場的最新趨勢，及探討亞洲藝廊之何去何從。此次台北藝博匯集超過 123 家來自 15 個不同國家的畫廊，包含台灣 63 家，中港 18 家，日韓 23 家，以及東南亞 7 家，其中國際畫廊更有多達 14 家首度參展，將展出逾 3000 件藝術作品。為了提升藝博的質感，先前四大展區將被減至三區，包括「藝廊集錦」、「藝術前線」、「藝景無界」，藝博焦點更集中在特別規劃的「新秀登場」及「MIT新人特區」。

With the tightening of the global market, Taiwan closely monitors the pulse of the art market, which shows a recent downturn. The art fair policy of Taiwan Art Gallery Association (TAGA) is looking at the integration of its local and the international markets. It does not only actively invite international galleries to Taiwan, but also provides collectors with a more comprehensive management service. After taking office, Chung Chinghsin, the new chairlady of the TAGA and the owner of the Da Xiang Art Space, has been busy visiting many local and international galleries, art fairs and organizations. In addition to inviting exhibitions, she also explores international networks. At this moment, she believes that establishing a positive image of Taipei Art Gallery is undoubtedly her most important task. In order to consolidate the support of art collectors and participant galleries for Art Taipei, and to restore the confidence and enthusiasm in art, the chairlady said that it would be her goals and the foci of her attention and effort to make the art market regain its original “confidence”, “peace of mind” and “original passion”. For restoring collectors’ initial enthusiasm, the TAGA had cooperated with the National Palace Museum, Taipei, to arrange an unusual Collectors’ Night in April this year. Through this the VIP collectors of the TAGA could preview the museum exhibits, and could appreciate the controversial movie, ‘One Person’s Collection’, produced by the famous collector Yao Qian and directed by Xu Haoxuan. This film records how the rich use their wealth to find the attributes of their original passion. This is also a story of all collectors. The success of this co-organized international exhibition made the TAGA get local and international acclaim.

ART TAIPEI EVENT HIGHLIGHT ART TAIPEI 重點節目

Art Screening, Peggy Guggenheim: Art Addict 電影賞析佩姬古根漢：藝術成癮 Saturday, October 21, 2017 2017年10月21日 (六) 17:00-19:00

Former director of the Department of Cultural Affairs of the Taipei City Government and former director of Kaohsiung Museum of Fine Arts, Beatrice Hsieh will host a guided appreciation of the movie Peggy Guggenheim: Art Addict. It will explore the process of how the private collection evolved into public display. This film is directed by the director Lisa Immordino Vreeland that depicts the colourful personal history of a female representative of contemporary art movement called Peggy Guggenheim. She is a nephew of Solomon R. Guggenheim Foundation, founder of Solomon Robert Guggenheim, and an important collector of contemporary art circles in Europe and America. The film introduces the interactions between she and Samuel Beckett, Max Ernst, Jackson Pollock, Alexander Calder, Marcel Duchamp and many other well-known artists in the cultural upheaval of the 20th century, and her influences on European and American art circles in 1930s and 1940s. In the legendary life, her wildness, recklessness, subversion of tradition and insistence of individual conviction do not only make Peggy Guggenheim become an outstanding female art collector of contemporary art, but also create the most important Collection among the contemporary art collections, Venetian Palazzo. 前台北市文化局局長及前高雄美術館館長謝佩霓將會導賞《佩姬古根漢：藝術成癮》，並探討由私人收藏走向公共展示的歷程。此片由導演Lisa Immordino Vreeland執導，描繪一位當代藝術運動中，不可或缺的代表女性Peggy Guggenheim傳奇的一生。她是Solomon R. Guggenheim Foundation創辦人Solomon Robert Guggenheim的姪女，也是歐美當代藝術圈一位重要的藏家。本片介紹了她在文化動蕩的20世紀，與Samuel Beckett, Max Ernst, Jackson Pollock, Alexander Calder, Marcel Duchamp等眾多當代知名藝術家們的交流，以及她對上世紀三、四十年代歐美藝壇的影響。在那充滿傳奇色彩的個人歷史中，她的野性、不羈放縱、顛覆傳統及個人理念的堅持，令Peggy Guggenheim成為當代藝壇出色的女藏家，也打造出當代藝術收藏史中，最重要的藏品：Venetian Palazzo。

At the same time, Art Taipei has also helped establish collectors’ ‘confidence’. With the hope of understanding the art industry from different perspectives, stimulating different thinking logics and deepening different learning paths, it invites gallery members to sharing and stimulation sessions with other notable professionals who are outside this art ecology. In the first half of this year, Art Taipei held an in-depth exchange and a series of art lectures for its gallery members and the feedback was positive. On March 5, four gallery owners shared their business philosophy. Gallery members could interpret others’ success through the talks and in turn find valuable references for modeling and remedy their own deficiencies. That was a new mode of activity. In the past, it had been purely touring activities with no real chance of information gathering. But in this two-day and one night sharing activity, 78 gallery members could relax themselves and get a chance to learn at the same time. Because of this, its members responded favorably. At meanwhile, the ‘Spring Master’s Lecture’ in the first half of the year invited Professor Szeto Tat Yin to teach the basic principles of ‘bossology’. Professor Szeto did not only inspire gallery bosses to nurture their family members when they were still young to become family enterprise successors, but also guided the second generations of operating galleries to learn and communicate with their seniors so as to pass on family teachings.

隨著全球市場的緊縮，台灣緊跟著世界的脈搏，也直接影響了近幾年藝術市場的不景氣。中華民國畫廊協會( 簡稱「畫協」)連續幾年的藝博會方針，放眼國際市場的整合；積極開拓國際畫廊來台灣參展，同時也對藏家服務做更全面的貼身設計。新上任的畫協理事長，本身也是「大象藝術」畫廊負責人的鍾經新女士在上任後已風塵僕僕地拜訪了國內外許多畫廊、藝博會及機構，除了邀展也積極拓展國際網絡，認為此刻建立台北藝博正面的形象無疑是最重要的工作。為了更鞏固藝術藏家與參展畫廊對台北藝博會的支持，拾回信心、令其安心並找回其對藝術的初心，鍾理事長表示這會是成為此屆她關注與努力的目標：讓藝術市場重新找回原本的「信心」、「安心」及「初心」。為了找回藏家的初心，2017年4月畫協與故宮國際特展「印象•左岸奧塞美術館30週年大展」舉辦了一場罕有的藏家之夜，讓畫協的貴賓藏家預覽故宮展覽，同時觀賞極具討論焦點、由著名藏家姚謙監製與徐浩軒執導的電影《一個人的收藏》，此片紀錄富人如何將自己的財富找到最「初心」的歸屬，亦是所有藏家的故事。此次協辦國際大展的成功使畫協獲得了國內外讚賞。

The chairlady also mentioned that she was starting from the academic perspective: artists should only step into the commercial field after gaining a solid foundation in art history. It is only when one can successfully enter the specific system of a collection , tell its epochal significance and touching story that one can endow the collection a new meaning and life, and to attract the appreciation of more beholders.

ART TAIPEI X ART LECTURE Art Taipei X 藝術講座 Taipei World Trade Hall 1 台北世界貿易中心一館 October 20-22, 2017

This year’s art lecture will be held from October 20 to 22, with the theme of ‘The Rise of Private art museums’ and the ‘New Asia.’ We will work with famous local and international art institutions and professionals to interpret the new trend of art market of private collection. To explore the value and identity of regional culture and art in Asia, Professor Pi Daojian and Kao Chienhuei were invited to discuss about the evolution of contemporary ink art in art lectures; Prominent Taiwanese collector Leo Shih and Chinese collector Liu Gang to share their knowledge of art development of modernism and contemporary art; and Professor Chen Chihcheng, and prominent professionals like K11 Art Director Jilly Ding Kit and Chief Executive Officer of the Imperial Art Education Foundation Xiong Pengzhu will talk about the role played by the Arts Foundation in contemporary art. 今年藝術講座將於10月20至22日舉行，以「私人美術館崛起」及看見「新亞洲」為主題，與國內外知名藝術機構和專業人才合作，透視私人收藏這股藝術市場新勢力，同時探討亞洲地區文化藝術的價值與認同。藝術講座分別邀請了皮道堅和高千惠教授對談當代水墨藝術的演進；國內知名收藏家施俊兆和中國大陸知名收藏家劉鋼現場分享現代主義至當代藝術的軌跡；還有陳志誠教授與K11 Art Foundation藝術總監Jilly Ding KIT和帝門藝術教育基金會執行長熊鵬翥暢談藝術基金會在當代藝術中所扮演的角色等。 Saturday, October 21, 2017 2017年10月21日 (六) 13:00-14:30

Sunday, October 22, 2017 2017年10月22日 (日) 13:30-15:00

OBSERVE THE PAST TO FORESEE THE FUTURE OF CONTEMPORARY INK PAINTING

THE ROLE OF ART FOUNDATION IN CONTEMPORARY ART

當代水墨藝術的鑑往知來

PI Dao-Jian (Associate Director of Curatorial Committee of China Artists Association, Art Critic, Curator) KAO Chien-Hui (Independent Art Critic, Art History Scholar and Curator) 皮道堅 (中國美術家協會策展委員會副主任、批評家、策展人) 高千惠 (藝術領域教學者、藝術文化書寫者、客座策展人)

藝術基金會在當代藝術中所扮演的角色 CHEN Chih-Cheng (Moderator) (President of National Taiwan University of Arts) Jilly Ding KIT (Head of Research & Acquisition of K11 Art Foundation) Perng-Juh SHYONG (Executive Director of Dimension Endowment of Art) 主持人：陳志誠 (國立臺灣藝術大學校長) Jilly Ding KIT (K11 Art Foundation藝術總監) 熊鵬翥 (帝門藝術教育基金會執行長)

Inter-disciplinary Dialogue:

Re-position of Asian with a focus on ‘The Rise of Art Museum’

跨界對話：重新定位亞洲以「私人美術館的興起」為由同時，台北藝博亦積極建立業內人士的「信心」。邀請業內外人士和畫廊會員做一個交流碰撞，試圖從不同的角度了解藝術產業，從而激發不同的思維邏輯，深化不同的學習路徑。今年上半年，台北藝博分別舉辦了一次藝廊會員深度交流和大師講座系列，迴響熱烈。3月5日在宜蘭，邀請了四位畫廊的老闆，現場分享他們的經營理念，畫廊會員可以透過他人的闡釋，了解他人成功的因素，找出值得參照和學習的地方，調整自己的不足。這是一個嶄新的活動模式，以前這類活動只是純旅遊，沒有真正的資訊學習機會，而這次兩天一夜的交流會，78位畫廊會員既能透過活動放鬆心情，又能得到一個學習的機會，所以會員非常讚賞。同時舉辦的「春季大師講座」邀請了企業管理學大師司徒達賢教授傳授「老闆學」心法。司徒教授不但發畫廊老闆如何從小培養家族企業接班人，還引導現今已在產業鏈上的畫廊二代如何向上一代的家長取經和溝通，以將家學延續下去。最後，理事長提到自己是從學術體系出發的人，要先讓藝術家建立扎實的藝術史條件，再跨進藝術的商業領域，才能更容易取得成功。唯有成功進入收藏體系，掌握藏品背後的時代意義和動人的故事，才能賦予藏品新的意涵和生命，以吸引更多觀眾的欣賞。

Art Taipei has concerned that the number of newly established private art museums in China and Middle East has grown up to nearly one-fifth of the world’s total and their blooming has become a force in the art market that cannot be ignored in the last five years. Art Taipei 2017 makes ‘The Rise in Private Art Museums’ its main theme of the annual art forum and event planning of the second half of the year. The number of South Korea’s private art museum is the highest in Asian, but the development of Taiwan’s private art museum is just in the start. ‘Hong-gah Museum’ has been video-taping for five years and built up its reputation and achieved a lot. ‘Yu-Hsiu Museum of Art’ has clean and delicate architecture in its premise. Although its scale and exhibits are limited, it has a very exquisite environment. These outstanding private art museums enhance the confidence of the industry of art museums and galleries. But how can they keep up with this emerging trend? Art Taipei regards it essential to analyze the issue from a fusion of the commercial and the academic viewpoints to arrive at a deep understanding. In the same vein, the evolution from entrepreneurial collections to private art museums has also gone through numerous academic packaging and discussions to arouse adequate social attention. Therefore, Art Taipei invites the scholars to analyse the phenomenon of the rise of private art museum. For example, in the lecture ‘The Rise of Private Museums’ on August 28 this year, Mr. Andrew Chew, director of Hong-gah Museum and Professor Liao Jen I of Taipei National University of the Arts each gave a half-hour speech on their special fields. In the third session they held a dialogue. As this lecture offered free admission, it attracted about seventy to eighty attendants. Apart from gallery members, there were many new faces, which may show that the present art market has attracted more public attention.

ENVISION NEW ASIA: REGIONAL INTEGRATION OF CONTEMPORARY ART IN ASIA-PACIFIC AREA 看見「新亞洲」－邁向區域整合的當代藝術國際論壇

Sunday, October 22, 2017

2017年10月22日 (日) 15:20-18:00

The Art Forum is concerned with the rise of Globalization that blurs the boundaries between countries. Asian and Latin American cultures are impacted the most, as local features in these places has been seriously vanishing, with local recognition being gradually washed away. To alter this trend of strong Western culture invading other countries and making local cultures in other countries vulnerable, the idea of “Glocalization” came up: It is to conserve local actions in the trend of globalization, and respect regional differences and the needs from local people. It has become the compromise proposal in solving the issue of globalization’s “monopolization”. Based on these reasons, this year’s theme of art forum will be ‘Envision “New Asia” - Regional Integration of Contemporary Art in Asia-Pacific Area.’ Professional talents from five Asian countries in numerous fields, including representatives from academia, media, curators, art museums and art fairs will be invited to this art forum. Through this cross-field interaction in contemporary art, these speakers can exchange ideas extensively and conduct dialogues in the following topics: 1) The possible meaning of New Asian, 2) How to shape New Asian cultural recognition, 3) what sort of cooperation mechanism should be constructed, and 4) how to conduct regional integration. With this forum, we hope to explore the future direction in the integral development of New Asian’s contemporary art. 藝術論壇關注全球化現象(Globalization)之興起，使國與國之間的界限逐漸模糊，尤其對亞洲、拉丁美洲文化的衝擊最為劇烈，其地方特質已嚴重流失，地方認同已逐漸淡泊。為導正歐美強勢文化對其他國家弱勢文化之過度入侵，尊重區域差異及本土需求，已成為解決全球化過度壟斷的折衷方案。有鑒於此，本屆藝術論壇以「看見「新亞洲」－邁向區域整合的當代藝術」為主題，邀集亞洲五國的各個專業人才，包含學術界、媒體界、策展界、美術館、博覽會等，透過當代美術之跨域交流，針對「新亞洲的可能意義」、「如何形塑新亞洲文化認同」、「建構何種合作機制」、「如何進行區域整合」等四個問題，進行廣泛的意見交換及主題性對談，藉以摸索新亞洲當代藝術整體之未來發展方向。 16:20-16:40

16:40-17:00

17:40-18:00

ASIAN PERSPECTIVES X ACADEMIC STRATEGIES

CONTEMPORARY CURATING X TRANSNATIONAL AESTHETICS

EXPO IMPLEMENTATION X REGIONAL INTEGRATION

亞洲觀點 X 學術策略

Mohamed Najib bin Ahmad Dawa (Director, National Art Gallery Malaysia)

當代策展 X 跨國美學

Ute Meta Bauer (Founding Director, NTU Centre for Contemporary Art Singapore)

博覽機制 X 區域整合

CHUNG Ching Hsin (Chairperson of Taiwan Art Gallery Association) 鍾經新 (社團法人中華民國畫廊協會理事長)

As a continuation of the widely acclaimed ‘Spring Master’s Lecture’ series, the ‘Master’s Lectures’ and the Art Saloon for the second half of the year will be held together on October 21 and 22. The main theme of the art lectures is set on ‘Seeing New Asia’, which is different from the usual practice of defining Asia from the Western viewpoint. It attempts to understand contemporary art from the viewpoint of Asians, and to re-define Asia thereafter. There will be five lectures. Distinguished scholars such as Professor Pi Daojian and Professor Kao Chienhuei will hold a dialogue on the evolution of the art of contemporary ink painting and its various interpretations. For the guided appreciation of the movie ‘Peggy Guggenheim: Art Addict’, Beatrice Hsieh, the director of the Department of Cultural Affairs of the Taipei City Government and former director of Kaohsiung Museum of Fine Arts, will explore the process from private collection to public exhibition. Prominent professionals such as K11 Art Director Jilly Ding Kit will share their views in a dialogue, and the five art forums like “Seeing ‘New Asia’ – Contemporary art Marching towards Regional Integration” will be hosted by Professor Bai Shiming of the Department of Fine Arts of the National Taiwan Normal University. This year’s Art Taipei presents heavyweight gallery zones, art forums and collectors’ service in a totally new fashion. There are more than ten different art exhibitions in other Asian cities in the same season. We are looking forward to the prosperous and thriving future of the Asian market.

台北藝博關注到近五年來在台灣、中國及中東等地區私人美術館的成立數量持續增長，並已佔全球近五分之一，私人美術館的蓬勃發展成為藝術市場中一股不可忽視的力量，今年台北藝博年度論壇及下半年的活動規劃皆以「私人美術館崛起」為主軸。韓國的私人美術館是全亞洲最多的國家，台灣的私人美術館卻在起步之中。「鳳甲美術館」連續五年舉辦國際錄像藝術展，建立了良好的口碑和成績；「毓秀美術館」是一個以清水為主的建築，雖然規模不大，但環境極為精緻雅典。這些傑出的私人美術館如為業界打了「強心針」，但如何使他們更緊貼這股新興趨勢？台北藝博認為唯有結合商業和學術的角度分析，才能使大家更深入了解這一現象。正如從企業收藏演進到私人美術館的成立，亦須必須經過多次的學術包裝和討論，才能得到足夠的社會關注度。因此台北藝博邀請了學術界一起探討私人美術館崛起的現象，深化大家對它的了解。例如今年在8月28日以「私人美術館崛起」為主題所舉辦的講座活動，邀請了鳳甲美術館的邱再興董事長與台北藝術大學廖仁義教授。活動吸引了七、八十位觀眾出席，當中除了畫廊會員之外，還包含了許多新面孔，可見現今藝術市場越來越受大眾關注。延續上半年大獲好評的「春季大師講座」系列，此次藝博會的「大師講座」會與藝術沙龍同於10月21日至 10月22日舉辦。此次藝術講座的主題定在看見「新亞洲」，有別於以往慣性以歐美人的角度來定義亞洲，它試圖從亞洲人的角度梳理當代藝術，繼而重新定義亞洲。五場座談會將邀請到重量級的藝壇學者如皮道堅教授、高千惠教授一起對談當代水墨藝術的演進與各式闡釋；電影賞析「佩姬古根漢：藝術成癮」，由前台北市文化局局長及前高雄美術館館長謝佩霓導賞，探討由私人收藏走向公共展示的歷程；香港K11藝術基金會總監Jilly Ding Kit等知名專業人士與會對談及「看見『新亞洲』－邁向區域整合的當代藝術」的五場論壇將由師範大學美術系教授白適銘主持。今年的藝博會以全新的面貌呈現重量級的畫廊展區、焦點論壇與藏家服務，同一季節也有超過十個不同的藝博也在亞洲各國城市發生，我們期待未來亞洲市場更加令人期待與欣欣向榮。

ART SALON 藝術沙龍 Taipei World Trade Center Exhibition Hall 1 台北世界貿易中心展演一館藝術沙龍專區 20-23 October, 2017

A four-day Art Salon will organise and host 11 sessions of Art Salon in the Taipei World Trade Center Exhibition Hall 1 such as "Contemporary Art and Collecting in Southeast Asia," "Performance and Creation of the Digital Content," " Environmental Memory to Art Ontology" and so on. For providing local and international professionals and Art Taipei guests with a chance to get closer to each other, Art Salon offers them a relaxed space to have discussions on art, and experts such as curators, art critics and artists from Taiwan as well as abroad will be invited to Art Taipei. These experts can not only exchange their views with each other but also share their stories and experience with the audience. On the basis of their itinerary, guests can attend topics they are interested, and can interact with the speakers.

為期四日的藝術沙龍設置於台北世界貿易中心展演一館之藝術沙龍專區，並規劃了11場活動，如「東南亞當代藝術與購藏」、「數位藝術的語言與表現」、「環境記憶到藝術本體」等等。為國內外藝術領域的專業人士與台北國際藝術博覽會來賓們提供一個能拉近彼此距離的機會，本屆台北藝博提供其一個舒適的空間與討論的平台，並廣邀國內外藝術家、策展人、藝評人等藝術圈各界翹楚們來到現場。講者們能彼此交流想法，還能與觀眾們分享其創作歷程與思想脈絡。參加藝博會的來賓們能依照自己每日的行程，挑選自己合適且感興趣的主題，與講者們互動。

MADE IN TAIWAN YOUNG ARTIST DISCOVERY MIT新人推薦區 Made in Taiwan (MIT) Young Artist Discovery is the Ministry of Culture and the Taiwan Art Gallery Association (TAGA). They have opened special exhibition area in the Art Taipei since 2013 for helping Taiwan young art integrate with the art industry, widening their international perspective, and establishing their international arts networks. 2017 Made in Taiwan - Young Artist Discovery will be held at the Taipei World Trade Center from October 20 to October 23. At the same time, an Art Salon activity “Unconventional Medium for Art: Taiwan Young Artists Connection with the World” will be held on October 21 from 3 pm to 4:30. It will be hosted by Yen Chung Tang, and will invite eight outstanding young artists from the 80 participants to share their stories of creation. MIT新人特區由文化部與中華民國畫廊協會合辦，自 2013年起在台北國際藝術博覽會中開設特展區，協助台灣年輕藝術新秀接軌藝術產業，拓展他們的國際視野，為他們建立國際藝文網絡。「2017 Made In Taiwan-新人推薦特區」將於10月20日至10月23日舉行之台北藝博展出，地點為台北世貿中心一館。同時，台北藝博將於10月21日下午3點至4點半舉辦一場名為「媒材的發想與超脫：MIT新人推薦特區」的藝術沙龍活動。由嚴仲唐主持，並邀請8位自80位參加者中脫穎而出的優秀青年藝術家，分享他們的創作歷程。

SELECTED ARTISTS 精選藝術家

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CHEN Cheng-po / Taiwan

"The Balcony Civilization series" by Shu-Kai Lin, his installation art is the sketch of his paintings. The wooden molds which represent the sunset industry is having a humanistic approach. The Installation art is specially set up for the exhibition space. It is the reversion of traditional process which painting comes before sculpture. His installation, drawings, video and documentary will be fully presented in Art Taipei.

林書楷 / 台灣

林書楷《陽台城市文明系列》以立體裝置作為平面繪畫的草圖，使用深具人文情感與代表夕陽工業的木造模具，為展覽場地量身製作裝置藝術，顛覆了傳統上先平面後立體的創作過程。今年將於台北藝博完整地呈現其創作脈絡。

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Lin Shu-Kai, The Balcony Civilization series"

Sun Yao, Landscape-Ark No.1, 120x120cm, Oil on Canvas, 2017

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CHEN Cheng-po, Seated Nude-32.1 (40), 36×26cm, 1932

Massimo De Carlo /

Enrico Castellani (b.1930) is an Italian master. One of his signature body of work is the Superfici (Surfaces) series: shaped relief canvases that Castellani started working on as early as 1959 and is still producing. These canvases signify and mark a historical moment when there was an essential quest for the dimensional and a land marking shift in the use of the canvas: it was no longer confined to being a background tool in aide of the abstract gesture but an active, physical and expanding surface that demands to exist.

藝術是神靈的工作。將物象化為意象，將心思成為創作，是一股生氣蓬勃的事業。—蕭耀透過圖騰形式的意象，蕭耀書寫出人的生活主張，在各種情緒裡掙扎、進出、游離，闡釋「五蘊皆空」背後的人文因子與生命的共同經驗。

Enrico Castellani, Superficie viola, 80x100x6 cm/31, Acrylic on canvas, 1981

恩里科•卡斯泰拉尼（b.1930）是一位極具影響力的意大利藝術大師。他最著名的作品系列名為《表面》，作品開啟了對於繪畫空間性的重要探索，同時記錄了這個歷史性的時刻。這些作品還體現了一種對於畫布使用的里程碑式的變革——畫布不再是僅僅協助抽象姿態表達的背景工具，而是變成了一種主動、有形、不斷擴張且宣示自身存在的表面。

Art Influence /

心晴美術館 Kao, Ya-Ting / Taiwan

Significant amounts of colors and specific images are intertwined and placed together in the works of artist Kao Ya-Ting . The vibrant, even fluorescent colors that are used to depict natural sceneries, allow the viewer to enter a visual experience that is far from reality. The colorful images are not only clues but also the transformation of inner creativity that embodies abundant emotions in the details. Kao’s works circle the themes and sub-themes of the relationship of attraction and alienation between human and nature. The overlaps of different sub-themes are like the various shots in video images, expressing the artist’s observation of the urban and natural environment.

高雅婷 / 台灣

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Kao Ya Ting, The Island, Oil on Canvas, 100x80cm, 2013

Ikkan Art Gallery /

teamLab / Japan

teamLab is a collective, interdisciplinary creative group that brings together professionals from various fields of practice in the digital society: artists, programmers, engineers, CG animators, mathematicians, architects, web and print graphic designers and editors. Referring to themselves as ultratechnologists, the group aims to go beyond the boundaries between art, science, technology and creativity, through co-creative activities.

teamLab / 日本

teamLab是一個彙集了信息社會各個領域專業人士的跨學界創意團隊。包括：藝術家，程序員，工程師，CG動畫師，數學家，建築師，網頁和圖形設計與編輯師。他們自稱為“超級技術專家“。致力於實現藝術，科學，技術和創新之間的平衡。

teamLab, Black Waves, single channel digital work, 2016

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3812 Gallery /

3812畫廊 Liu Guofu / China

With a unique artistic language that is at once sensual and spiritual, Liu Guofu is one-of-a-kind in the Chinese contemporary art world. His oil paintings have been exhibited in many major cities. Highlights include a group exhibition in Kunstraum Villa Friede, Bonn, Germany in 2014, a solo show in 2011 that toured the Jiangsu Provincial Art Museum, Nanjing, Today Art Museum, Beijing, and the Shanghai Art Museum; In the same year, he also participated in the Parallel Exhibition at the 54th Venice Biennale.

劉國夫 / 中國

劉國夫在中國當代繪畫領域中，以獨特的繪畫語言，感性的表現手法，佔據了無可替代的位置，呈現出真正源自於精神層面的圖像。其繪畫作品曾於世界多個城市展出，如2014年於德國波恩當代藝術館參加中德藝術家聯展，2011年在江蘇省美術館、今日美術館、上海美術館舉行巡迴個展，同年參加第54屆威尼斯雙年展．平行展。

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Liu Guofu, Pervading No.23, Oil on canvas, 120x90cm, 2017

La Lanta Fine Art /

Pannaphan Yodmanee / Thailand

La Lanta Fine Art is pleased to present a solo project exhibition #TIME by Pannaphan Yodmanee at Art Taipei 2017. Yodmanee (b. 1988) is a Thai artist who investigates points of intersection between Buddhist philosophy and cosmology, a theme which she has consistently investigated through her artistic practice. The exhibition embodies microscopic and macroscopic visions with Buddhist cosmology, traditional and modern techniques, and natural and artificial materials. The artist investigates the idea of human's quest to discover the reason and truth behind life's natural phenomenon such as loss, devastation, and karmic cycles of life. She argues that the relationship between human and nature is eminent. For human to survive, it is inevitable that one continues to question and self adjust to be able to exist.

In York Hsiao’s own words, “Art is the work of Spirits. It converts matters into images and thoughts into creation. It is a career that is full of life.” Through the images of totemic forms, York Hsiao York Hsiao, I am the Self, the Only, spells out his idea of human life, behind all the and the One, 217.5×290.5cm, Mixed struggles, back and forth, to best demonstrate media, 2017 the Zen belief that the common life experience of human senses are all empty. The art development of York Hsiao is in-sync with the contemporary art, multi-facet and imaginative. One thing can be certain that the artist has spent a lot of time and efforts with local and international art business to maintain this close relationship to the contemporary art community.

蕭耀 / 台灣

MDC畫廊 Enrico Castellani / Italy

高雅婷的創作是以大量的色彩與具體的影像穿插並置，用鮮豔、甚至螢光的色彩描繪自然的風景，讓觀者進入一種抽離現實的視覺體驗之中。色彩繽紛的畫面是線索的鋪陳，也是她內在創作能量的轉化，纖細中隱藏著豐沛的情感。她的創作脈絡圍繞著人與大自然之間既吸引又疏離的關係，並隨之衍生不同子題，不同子題交叉像是影像的分鏡，敘述著藝術家對於都市與大自然的觀察。

Capital Art Center /

首都藝術中心 York Hsiao / Taiwan

陳澄波 / 台灣

2017台北藝博，尊彩藝術中心策劃以經典大師：陳澄波，戰後抽象藝術家－李重重，當代藝術－繪畫類：林宏信、王建文、黃頤勝、周代焌；錄像藝術－許家維、陳依純，作為呈獻台灣藝術近百年的豐盛成果。

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KUO emphasizes the limitation of one’s visual field to see the whole look of mountains; hence, one must captures the view from different angles in order to obtain the complete picture of mountains. He abandons clear outlines of a mountain in order pursue the layers of colors and brush stroke freely. His mountains are not drawn in a realistic manner KUO Chih-Hung, Study of Landscape 39, 39.2x189.5cm, Oil on paper, 2017 but are the genuine sceneries in his mind. KUO says the process of painting is like an island hopping journey, where you jump from one island to another to connect them as you explore the world of the unknown. There is no beginning and no end. The only bridge between islands is pure chance and accident. Throughout the journey, what one has experienced is the fragmentized images, while viewing threads the time. What the artist experience is the discontinuous fragment of images, and viewing become a tool to connect those scattered parts” Oil on paper is one of his revolutions these years. His new works are collected by well known collector Uli Sigg and would be exhibited in Europe. It is a significant milestone for the artist himself and has the ability and strength to shine in the global art market.

從山嶽的宏大綜觀到深入此山中的見山不是山；從明顯的輪廓構圖到色塊的恣意堆疊；從舒緩吐納到充滿張力的氣息轉換；從畫布開始到近期的紙本油彩，藝術家郭志宏自德國回台以來，儘管創作主題都圍繞在風景上頭，但他的人和他筆下景卻日夜進化著。他曾說：「繪畫的過程就像島嶼之間的旅行，從一座島到下一座島，是跳耀的連結，是對未知的探索。沒有開始也沒有結束，依靠偶然和意外串起島和島之間的連結，在這過程所經驗的是斷裂的影像片段，觀看成為時間的串聯。」而紙上油彩就是他這一年來的跳躍與探索。曾用「專注」、「不羈」二字形容過他作品的國際知名藏家Uli Sigg（烏利希克），在首批紙上油彩一曝光後便二話不說的再度珍藏，並為其規劃後續於歐洲的展出。

Art Taipei 2017 Liang Gallery is presenting classic works by Chen Cheng-po, post-war abstract works by Lee Chung-Chung, contemporary works by Lin Hung-Hsin, Leo Wang, Huang Yi-Sheng, Chou Tai-Chun, and video works by Hsu Chia-Wei and Chen I-Chun. The curated project unfolds the results of nearly a hundred years of Taiwanese art. Art in Taiwan from as early as 1930 to 2017 has been filled with the elements of cultural and social pluralism, also freedom of thought that reflects in the artistic achievements. Artists often apply different media in their creative practice to manifest and fully express their views towards society.

恩里科·卡斯泰拉尼 / 意大利

Co Space /

郭志宏 / 台灣

Liang Gallery /

尊彩藝術中心 Lin Shu-Kai / Taiwan

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Aki Gallery / 也趣藝廊 KUO Chih-Hung / Taiwan

Der-Horng Gallery / 德鴻畫廊

Pannaphan Yodmanee, Volcano Winter, rocks, gold leaf, mixed media on canvas, 80x80cm, 2016

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Khankhalaev Gallery / Zorikto Dorzhiev/ Russia Zorikto Dorzhiev creates modern myths and legends, making us participants of this extremely fascinating process. Their works reflect the author's conviction that Zorikto Dorzhiev, Elder Sister Fairytales II., 114x170cm, today the universality of ancient human Oil on canvas, 2017 memory ceased to submit to the idea of dividing inhabitants of Europe and Asia on people of the East and the West. It especially concerns those who live at the junction of cultures – and the poblication is increasing. The dialogue format offered by the artists is very important for today's world. Works from the field of contemporary myth-making deserve separate attention. Today, the reference of our artists to the myth does not look like something new – after all, there are millenary traditions of mythological art. However, it is impossible to call it archaic either because such a way of cognizing the world is still topical and in demand.

Sun Yao / China

The Co Space selects artists Qiu Deshu, Xiao Min, Sun Yao, Xie Aige, Fu Bailin and Wang Yi for the exhibition. Different artists present their works through multiple media, such as oil painting, ink wash painting, photography and sculpture. There is a similar sensitivity towards the changing of period and situation in these young generation of artists from the seventies and eighties. Meanwhile, their art works deliver restrained but intense personal emotion. The acceptation of both western and oriental aesthetics synchronously contributes in maintaining indescribable virtue of aesthetics in their art.

孫堯 / 中國

此次Co Space參展藝術家為仇德樹、肖敏、孫堯、謝艾格、傅百林和汪一，作品形式涵蓋了油畫，水墨，攝影和雕塑。作為在中國當代藝術進程中較為特殊的一代，他們的藝術表現既有著某種共同的對於時代和環境變遷的敏感，同時也流露出某種克制但絲毫不乏力度的個性情感。

he American music in the café seems to accompany her as her words glide effortlessly between English and Chinese. She introduces the paintings with "you see this!" sharing the raw emotions of a child who sees a beautiful and mysterious treasure. Julie Hsieh does not come across as a medical doctor and gallery owner, but more like a painter in the drawing of a painter. Her story is the trip of an immigrant who returns from her journey as an artist. She was six-years old when she moved to Texas from Taiwan. Her immersion in art started early with vocal music ("I thought I was going to be a singer!" she said). She grew up to become a family doctor, married, had two beautiful children, and a good life. But she woke one day with the thought: will every day be like the last one? She wanted new challenges and new ways to express herself, and three-years ago returned to Taiwan where she started painting and immersing herself in the world of art. This culminated with an invitation to participate in Hong Kong’s “Art Central” art exhibition, which was the start of Yuan Ru Gallery. To her art is a medium that transcends national boundaries. It contributes to the health of both body and mind. Even a glimpse of art on a mobile phone can trigger the imagination and an emotional response. She sees art as innately social: creating unique connections between people. Julie Hsieh is an artist who identifies as Taiwanese. She wishes to promote Taiwan art to the world. She is fortunate to have met several like-minded artists upon returning to her country: Chien-Hsing Lien, an artist whose work depicts gigantic whales floating mid-air with ‘gongbi’ technique in a magical-realist style; Jun T Lai, whose sparkling and colourful mirrors create shiny patterns of spots; Baptiste Tavernier, whose work is a combination of maps and labyrinths; and her own work, an expression

of her inspirations and raw emotional power. These four artists made up the strong line-up of Yuan Ru Gallery on display at Art Central. While branching out abroad, Yuan Ru Gallery is also putting down roots in Taiwan. Her gallery officially opened this year. The first part of her opening exhibition in September titled “I am Taiwan” involves many artists, including Ching-Jung Chen whose paintings depict aboriginal myths of the shore. The participation of ChingJung Chen, who is widely considered a national treasure, has caught the attention of the art world. Chen is one of the very few members of “The Fifth Moon Group” still active today. With his status in the art world, his participation raised the exhibition to a different level. Active in public art, it is rare for Po-Lin Yang to collaborate with galleries. He made an exception for Yuan Ru Gallery’s opening and took “Identity and Belongings” and “Logic of the Land’ as his themes. Apart from highlighting the existence of Taiwan as subject and symbol, his work also calls up a sense of communal care to the very land we live in. Needless to say, the works of both Chien-Hsing Lien and Jun T Lai are also highlights of the exhibition. “I am Taiwan” is a confident title, and the participating artists Ching-Jung Chen, Chien-Hsing Lien, Jun T Lai, Po-Lin Yang, Patrick Lee and Henri Depardieu are likewise powerful figures. Julie Hsieh said she is especially excited to present and witness the history of the Taiwan art world. The opening exhibition will be presented in two parts, with the first running until the end of October. Footnote: In 1956, before graduating from National Taiwan Normal University, Chen Ching-Jung, Kuo Tong-jong, Liu Guo-song, Li Fang-Chih, Guo Yu-Lun among others, founded ‘the Fifth Moon Group’. Their distinctive modern paintings differed from the conservative style from the past. A year after its foundation, Chen Ching-Jung and others organized the first ‘May Art Group Painting Exhibition’.

TRANSCENDING BOUNDARIES: ART AND HEALING– JULIE HSIEH AND YUAN RU GALLERY 跨越邊界的療癒與活力—— 謝宛儒與宛儒畫廊 Text: Kevin Tan 文：譚洋 Translation: Alan Chan

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啡輕食館裡流瀉的美式音樂像是在為她伴奏;她的話語在中英文之間滑翔交替，介紹畫作時帶著「你看這個!」像孩子和人分享寶物時神秘且愉快的神情。眼前的謝宛儒與其說是醫生和畫廊老闆，更像是在畫紙上自在起舞的畫家。她的故事，是一趟從移民、歸返到與藝術家相繫的旅程。六歲時她隨全家搬到美國德州，成長過程中浸淫藝術與聲樂(「我有想過要當個音樂家!」她說);長大後成為家庭醫生，結婚生子的平順生活讓她自問: 以後人生的每一天就這樣過嗎?想尋求新挑戰的她，三年前返台定居，一邊和孩子們享受返鄉的感覺，一邊開始作畫;隨著作品受邀參加香港「Art Central」藝術展，宛儒畫廊也應運而生。本身也創作的宛儒，對台灣藝術家惺惺相惜，也希望將台灣的藝術往國外推廣。一回國，她便幸運結識意氣相投的幾位藝術家：以魔幻寫實工筆，描繪空中島鯨和水上鐵軌的連建興；色彩明亮，打造圓斑與鏡面閃亮紋理的賴純純；畫作揉合地圖與迷宮線條的法國藝術家 Baptiste Tavernier；宛儒自己加上三位藝術家組成宛儒畫廊的堅強陣容。逐步穩健的在本地生根及擴展版圖到國外，是宛儒畫廊近年的計劃之一。今年畫廊基地正式開幕，除上半年春

Henri Depardieu, Sakura, 130x270cm, Oil on canvas, 2014

季聯展外，九月展出的「我是台灣」還加入畫作描繪海岸部落神話的陳景容等多位藝術家。

「我是台灣」此次邀得國寶級藝術家陳景容老師展出，這位已是少數活躍在市場上的「五月畫會」成員之一，因為其藝術史的地位已預期將影響市場觀望與期待，展出更獲廣大的迴響。而活躍在公共藝術、難得與畫廊合作的楊柏林，以「身分認同」與「土地思維」兩大議題為出發點的作品，除了突顯台灣做為一個主體和一種符號的存在，也有意召喚大家對這片生長土地的共同關懷。令人期待的連建興及賴純純老師的作品，也是這次展出的亮點之一。「我是台灣」這從字面上充滿自信的標題，幾位藝術家陳景容、賴純純、連建興、楊柏林、李紹榮及法國藝術家 Henri Depardieu，都是重量級的大家。宛儒表示，她對於這次能夠展現台灣藝術界歷史的見證感到興奮。開幕展將分為兩個階段推出，第一階段將展至10月底。

附註：1956年師大畢業前夕，陳景容和郭東榮、劉國松、李芳枝、郭豫倫等人發起組織「五月畫會」，五月畫會特出的現代藝術畫風有別於過去保守畫風，陳景容等人並在隔年於台北舉辦第一屆「五月畫展」。

我是 * BN 5BJXBO 台灣陳景容 | 賴純純 | 連建興 | 楊象•楊柏林 | 李紹榮 | Henri Depardieu

首次開幕聯展

Exhibition Part 1

2017.09.30 Sat. - 10.24 Tue.

地點：台北市南京東路5段343號10樓 Venue: 10F, No 343, Sec 5, Nanjing E Rd, Songshan District, Taipei, Taiwan Opening Hours: Tue. - Sun. 11:00~19:00 (Closed on Mon.) Tel: +886-2-2796-8862 info@yuanru.gallery

www.yuanru.gallery 陳景容

黃昏下的裸女

油彩丶畫布

193 x 193cm

1975

STAR GALLEY: A NEW MELODY CREATED FOR ART TAIPEI 譜出台北藝博的新樂章 ——藝星藝術中心

tar Gallery is honored to present Dean-E MEI, Chien Hsin LIEN, Ming Hsing WU, Po-Ling YANG, Wen-Yueh TAO, and Tsen LO in Art Taipei 2017. These artists are highly respected in Taiwan contemporary art scene with their extraordinary sense and unique personal styles.

face in his self-portraits. Among his artworks, white and green are the main clues, as he recognized these two colors as tranquil and serene. To him, painting is a spiritual portal that directs him away from the darkness of death. His works serve as a kind of hope and peace that infects the viewer.

For Mei, he is one of the rare artists in Taiwan who create his artworks with the perspectives from culture, history and politics. "Taiwanese Identity" is the main subject he wants to explore through his creations. Mei will show his new oil paintings in Art Taipei 2017. Chien Hsin LIEN has been truly recognized as an incredible ‘Magician’these years. With his "Magical Realism", audiences fall between the real and the created scenes. "Uncharted Paradise" shows the natural landscape and clear pond, spreads out the mysterious tranquility of virgin sceneries. As a tormented protagonist in and out of hospitals, Ming Hsin Wu is a warrior of life in his own narrative, bearing scars and melancholy on his

藝

星藝術中心是次特別呈現台灣當代藝術三位男高音，梅丁衍、連建興與吳敏興共同譜出台北藝博的新樂章。三位藝術家分別從學術、市場及與生俱來的天賦來探討台灣當代藝術的氣象。梅丁衍展出眾所期待的全新油畫，從當代藝術角度顛覆傳統思維，以油畫詮釋古水墨，用繪畫記錄歷史、文化與社會關懷。以「魔幻寫實主義」著稱的連建興，以其獨樹一幟的創作風格贏得藝術界與收藏家的肯定，超寫實的畫面擺盪於如幻似真之間。吳敏興是個天才型素人畫家，他的創作具有強烈的個人風格，而戲劇性的人生也賦予他眾多的創作靈感。此次展出的代表作品吳敏興「森林中的音樂會」、連建興「秘境戲遊」及楊柏林巨型雕塑「蝴蝶效應」，將為大家譜出台北藝博的新樂章。

Chien Hsin LIEN, Uncharted Paradise, 145x89cm, Oil on canvas, 2017

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Hong Kong Convention & Exhibition Centre Hall 5B 俏⑥ᴹ䆦ኋ㿳ѣᗹ ኋ㿳ᔩ5B

Dec 15 - 17. 2017

www.inkasia.com.hk ḛ䂘 Enquiries: info@aaifair.com 䴱䂧 TEL: (852) 3107 0681

Jut Art Museum 忠泰美術館

2 0 1 6

Our focus now shifts to Civic Boulevard and Janguo Road. In the autumn of 2016, Jut Land Development established an art museum on the first and second floors of its headquarter. Its internal collection is divided into corporation and personal collection. Since then it has been almost a year but it still has not added any into the museum collection, but this does not mean Jut Art Museum is not developing its collection department. The reason is that it sees collecting and exhibiting as independent from each other, and to avoid the collection to be overly attached to the space. Its vice-chairman Aaron Y.L. Lee thinks that too much emphasis on displaying a collection would damage the public orientation of the art museum, therefore Jut Art Museum will be curatorial-led, whether by internal curators or external curators on commission basis. When its collection committee is established, it will transfer the collections from the corporation and the Foundation into the art museum. It will also purchase representative art works for the collection. Huang Shan-shan, Head of Jut Art Museum, added that in the next three to five years, the museum will select a group of professional committees based on their professional and international experiences. The goal is to have half of the committees to be international, as she hopes that this international exchange can improve the professional standard of Jut Art Museum. Over the last decade, Jut Art Foundation has interacted with art and architectural fields, and the foundation has already added a few pieces in the collection, such as Chou Yu-Cheng’s Rainbow Paint Project and many architectural models donated by old architects. ‘Some are suitable for the collection, since they represent the histories of corporation with the foundation. A museum collection also needs to have its own independent criteria.’, says Aaron Y.L. Lee. But he thinks that art museum cannot open its door to everything simply because they are art, after all the collecting is not the intention for establishing the museum, nor is displaying the collection the major reason behind it. Therefore, even if there will be a large collection in the future, it will not put specific curatorial focus on its own collection like other public art museums. ‘If there is a path that is hardly walked by other professional art museums, then that path would be something valuable to go into, and we will walk on that path’, says Aaron Y.L. Lee. He couldn’t tell what exactly is the principle behind, but that he respects professional advices in a world that is changing quickly. He thinks in the discussion of private art museum and collection, one can separate private corporation and museums further. What is collected by a corporation does not

THE YEAR AHEAD 2018

全球藝術之旅

ART FAIRS 藝博會

月

JANUARY

London Art Fair 2018 January 17-21 ART Innsbruck January 25-28

月

FEBRUARY

Red Star Over Russia Nov 8,2017-Feb 18, 2018 Photofairs San Francisco February 23-25 OXFORD INTERNATIONAL ART FAIR 牛津國際藝術節 February 23-25

忠泰美術館外觀

necessarily become the its museum collection, because an art museum is independent in its professional concerns. He thinks that what one should think about is perhaps the question - ‘Since there is an art museum, what kind of change can it bring to the corporation?’ Like the lobby of Jut Land Development, there is no plan to display any permanent collection. The space is rather treated as the ‘one-piece room’ of art museums. In the first year, it displayed Lee Ming-wei’s The Living Room, while moving on to the second year, it will display Hsu Yung Hsu’s installation 「換展 (Changing Exhibition?). Lee emphases that what is display in the lobby does not necessarily has to be from the museum collection, but it has to be something that reflects the relationship between the corporation and museum. One can see from the examples of Hong-Gah Museum and Jut Art Museum that their origins differ greatly. Even though Hong-Gah Museum has a large collection, it still leads its own professional and contemporary curatorial path. The collection that Jut Art Museum is creating is not just an assemblage of its corporation, foundation and family collections. What the two museums show is the interaction between collecting and the shaping of museums, where the two sides influence each other in a ripple effect. Art museum should not just be the doorway for the transactional in-and-out of collections (it is, and what is sad is that even some Taipei’s public contemporary art exhibition venues have for long been arenas for the competition between art galleries and private collectors). If one is to draw a brief conclusion for now, it is that the sustainable existence of museum is intended for collections meaningful to its own time.

視野轉到鳳甲成立美術館時搖滾巨星拍攝《白鴿》mv 的市民與建國雙高架路街區，2016年秋季，文化事業參與的企業績優生—忠泰企業體在總部的一、二樓，設立美術館。忠泰企業集團的內部收藏品又區分為企業收藏和個人收藏，美術館成立迄今將滿一年但收藏仍是零，但這並不意味忠泰美術館不發展典藏部門，而是認為典藏和展示之間的獨立性不該因為收藏品和空間有過度牽連，涉入文化藝術事業經營的忠泰企業副董事長李彥良認為，如果過度以藏品作為美術館空間展示，它將損害美術館設立的公共意義，所以忠泰美術館的經營方向無論是委託獨立策展人或內部策展人，均將以策劃展為主要方向；然而待美術館的典藏委員會成立之後，除了會就企業內部或基金會的收藏品盤點，將條件適合進入美術館收藏的作品移轉到美術館收藏之外，也會定期透過典藏會的專業機制討論，購藏具有系列性或時代意義的作品至美術館典藏部。忠泰美術館藝術總監黃姍姍補充，未來忠泰美術館的典藏委員會將會以專業性和國際視野為考量，預計在三至五年時間徵詢遴聘專業委員，也設了「委員會半數為國際委員」的原則，她期待透過專業界和國際人士的交流，也能提升忠泰美術館在專業定位的高度。過去十年忠泰基金會和藝術與建築界的深耕互動，使得基金會內已有不少收藏品，例如周育正的《虹牌油漆》計畫或是不少老建築師將建築模型捐贈出來的藏品，「有些作品就適合在基金會收藏，因為它象徵基金會和合作關係的歷史，而且美術館收藏應該要有自己一套獨立的標準。」但李彥良認為美術館並不能因為是藝術品就該照單全收，畢竟，在他的概念裡，收藏品不是成立美術館的動機與原因，展示典藏品也不是成立美術館的主要目的，因此，即使未來在美術館有大量收藏品，也不會像公立美術館會專門針對收藏品策劃典藏展。

RED STAR OVER RUSSIA The current exhibition of Tate Britain is displaying artworks of the prominent artist, Rachel Whiteread. It will be hosted until 21 January, 2018. It is worth noting that the upcoming exhibition Red Star Over Russia: A Revolution in Visual Culture 1905-55 will be hosted from 8 November 2017 to 18 February 2018. 2017 marks the centenary of the October Revolution. Rebellion brought hope, chaos, heroism and tragedy as the Russian Empire became the Soviet Union. A new visual culture arose and transformed the fabric of everyday life. The core of this exhibition comes from the extraordinary collection of photographer and graphic designer David King (1943–2016). He started his collection of over 250,000 items relating to this period while working for The Sunday Times Magazine in the 1970s. The collection was acquired by Tate in 2016.This show is an opportunity to see the rare propaganda posters, prints and photographs collected by King. 英國泰特藝術館目前的展覽是阿爾法藝術家Rachel Whiteread的回顧展。它將展至2018年1月21日。值得一提的是，即將於2017年11月8日至2018年2月18日以Red Star Over Russia: A Revolution in Visual Culture 1905-55為主題的大展。2017年是十月革命百週年，隨著俄羅斯帝國成為蘇聯，叛亂帶來了希望、混亂、英雄主義和悲劇。新的視覺文化出現改變了日常生活的結構。這個展覽的核心來自於攝影師和平面設計師David King（1943-2016年）的收藏。他在20世紀70年代為《星期日泰晤士報》工作時，開始收集超過25萬件與這段時間相關的物品。收藏品由英國泰特藝術館於2016年收購。本次展會是一次機會，可以看到由King收集的、罕見的宣傳海報、印刷品和照片。

3月

MARCH

「如果哪一條路還沒有什麼專業美術館在做，而那個系統做起來是有價值的，我們就會朝那個方向進行。」李彥良說，這種原則是什麼，他也無法現在就明說，因為他尊重專業的建議，而時代變化也如此迅速，也包含人類看待藝術思維方式。他並舉例，如果要討論私人美術館與收藏機制關係，其實可以將私人企業和美術館的定義再拉開一點距離看，之所以企業的藝術收藏品不必然就因為成立美術館就成為其中藏品，是因為美術館有其獨特專業性，而該思考的可能是「因為有了美術館，可以給企業體有什麼質變？」像是忠泰企業總部大廳，並不打算長期固定放相同作品，它更像是個美術館one-piece room的概念，第一年是李明維的「客廳計畫」，而美術館即將進入第二年，企業大廳作品也與新一檔的展覽近於同步，「換展」為徐永旭的裝置作品。李彥良強調，像是企業大廳的收藏展示，它未必就是美術館的收藏，但它也必然有呼應企業體和美術館之間的關係。從台北的鳳甲美術館與忠泰美術館的例子來看，即使其設立的初始目的截然不同，但即便鳳甲美術館有大量收藏品，亦能走出另一條專業當代展示策劃的美術館之路；忠泰美術館未來將設立的典藏部門也不將只是集合原有企業體、基金會、家族個人收藏。鳳甲和忠泰的美術館，呈現的意義在於收藏的流動因為美術館的成立形成了更獨特的漣漪關係，美術館自然不是收藏系統的入口或出口（誠然如此，可悲的是台北也有公立的當代藝術展示館已長期淪為畫廊和私人藏家的角力場）。如果要給出這個年代的暫存性結論，美術館永續存在的企圖，就是一介存在於時代意義的收藏品。

5月

MAY

8月

AUGUST

The Armory Show 軍械庫展覽會 March 8-11

Photo London 倫敦藝術影像展 May 17-20

Seattle Art Fair 西雅圖藝術博覽會 August 2-5

The International Photography and Moving Image Art Fair (MIA Fair) March 9-12

ARCO LISBOA May 17-20

Art Nocturne Knocke August 11-15

Affordable Art Fair Brussels 布魯塞爾買得起藝博會 March 15-18 Affordable Art Fair New York 紐約買得起藝博會 March 21-25

Auckland Art Fair 奧克蘭藝術博覽會 May 23-27

6月 Art Basel 巴塞爾藝術展 June 14-17

4月

9月 JUNE

SEPTEMBER

Rotterdam International Art Fair 鹿特丹國際藝術博覽會 September 7-8 20th International Art Fair in Zurich September 21-23

APRIL

Art Paris Art Fair 藝術巴黎博覽會 April 5-8

Urban Art Fair Paris 巴黎街頭文化展 April 12-15

Art Expo New York 紐約藝術展 April 19-22

SP-Arte – São Paulo International Art Festival 聖保羅藝術展 April 12-15

Art Brussels 布魯塞爾藝博會 April 19-22

Art! Vancouver 2018 藝術！溫哥華 April 19-22

SHANGHAI SHANGHAI ––THETHE NEW NEW CAPITAL CAPITALCENTER CENTEROFOF CHINA CHINA

上海作為中國新的資本中心上海作為中國新的資本中心

原上海證券報記者，長期報導藝術市場，原上海證券報記者，長期報導藝術市場，

文：邱家和文：邱家和 Text: Text: Qiu Jiahe Qiu Jiahe 各類美術館博物館與藝術園區各類美術館博物館與藝術園區

余耀德美術館余耀德美術館

attention of Budi of Budi Tek, the Tek,latter the latter then made then made visits visitsconditions. the branding the branding of West of Westattention conditions. Two factors Two factors are decisive are decisive here: here: one isone is LaterLater he was hetransferred was transferred to Xuhui to Xuhui District Districtthe charisma Bund,Bund, the three the three couldcouldthere.there. the charisma demonstrated demonstrated by their by founders their founders (with (with theof post Secretary of Secretary of Party of Party Committee, Committee, it is it istheir their be said be to said be to ‘eagerly be ‘eagerlyfor theforpost foresight, foresight, determination determination and resolution), and resolution), thenbuilt Tek the built museum the museum in West in West Bund.Bund. invited’. invited’. Of course, Of course,then Tek the other the other is theisappeal the appeal of West of West BundBund itself. itself. The The they they have have all gone all gone truth truth is, however, is, however, very very simple: simple: on the on supplythe supplyShanghai Centre Centre of Photography of Photography is theis first the firstside, civilian-run on different on different pathspathsShanghai side, civilian-run art museums art museums must must provide provide high high publicly publicly recognised recognised non-profit non-profit photography photography art artquality thereafter. thereafter. quality exhibitions exhibitions to thetopublic; the public; on theondemandthe demandinstitution institution and the and first the art firstmuseum art museum dedicated dedicatedside, West side, West BundBund showsshows that as that Shanghai as Shanghai is at the is at the to photography in Shanghai. in Shanghai. The The founder founder Liu Liuforefront Long Long Museum Museum is isto photography forefront of cityofdevelopment city development both nationally both nationally and and Heung ShingShing is himself is himself a photographer. a photographer. Unlike Unlike the theinternationally, founded founded by theby famous the famousHeung internationally, there there is demand is demand to new to ways new ways of of two museums two museums aboveabove that were that were founded founded by byland usage. collector collector couplecouple Liu Liuother other land usage. A good A good civilian-run civilian-run art museum art museum must must entrepreneurs-come-collectors, Liu was Liuawas journal a journalbe able YiqianYiqian and his and wife his wifeentrepreneurs-come-collectors, betoable keep to up keep with up such with demand. such demand. photographer and aand winner a winner of Pulitzer of Pulitzer Prize Prize in in WangWang Wei, Wei, the latter the latterphotographer Journalism. His books His books have been havepublished been published through throughSeeing is also is also its director. its director.Journalism. Seeing it thisit way, this way, West West BundBund seemsseems to most to most Taschen, VikingViking Press Press and Penguin, and Penguin, among among manymanycivilian-run The couple The couple each each has hasTaschen, civilian-run art museums art museums that that grandgrand stage stage famous publishing publishing houses. houses. Publications Publications include includebeyond their their own preferences own preferencesfamous beyond their their reach.reach. The Liu Thecouple Liu couple and Tek andcan Tek can 上海攝影藝術中心楊福東個展《愚公移山》上海攝影藝術中心楊福東個展《愚公移山》 ‘China, Portrait Portrait of a Country’, of a Country’, ‘Shanghai ‘Shanghai Portrait Portraitbe regarded on collections: on collections: the the‘China, be regarded as theasexemplars the exemplars of past of generation past generation of a City’, ‘China ‘China in Revolution; in Revolution; Road Road to 1911’ to 1911’ and andof civilian-run husband husband loves loves ink inkof a City’, of civilian-run museum museum founders, founders, all ofallthem of them Speaking Speaking on civilian-run on civilian-run art museums art museums no one no onepaintings, monographs ‘Collapse ‘Collapse of an of Empire’ an Empire’ and ‘China and ‘Chinaestablished paintings, calligraphies calligraphies and antiques; and antiques; the wife the wifemonographs established their their positions positions during during the strong the strong can miss can miss out on outWest on West Bund.Bund. As the As reputed the reputedloves loves Mao’,Mao’, for theforlatter the latter work work he was heregarded was regarded by bygrowth contemporary contemporary art. The art.museum The museum was opened was openedAfter After growth of artofmarket art market around around 2008.2008. Just as Just Mr. as Mr. three three civilian-runs, civilian-runs, Long Long Museum, Museum, West West Bund,Bund,in April Newsweek as ‘theasHenri ‘the Henri Cartier-Bresson Cartier-Bresson of China’. of China’.Tek said, in April of 2013 of in 2013 Pudong in Pudong but the but couple the couple was then was thenNewsweek Tek ‘collecting said, ‘collecting should should be a noble be a noble careercareer – it – it Yuz Museum Yuz Museum Shanghai Shanghai and Shanghai and Shanghai Center Center of ofattracted attracted by thebyidea, the planning idea, planning and policy and policy of West of West is for is thefornext thegeneration next generation and people and people in theinfuture. the future. Photography Photography are noare doubt no doubt leaders leaders in China. in China. civilian-runs civilian-runs give in givesoon in soon after after buzzing buzzingOne earns Bund.Bund. Without Without givinggiving up theupmuseum the museum in Pudong, in Pudong,Most Most One earns good good friends friends as oneasbecomes one becomes a ‘cultural a ‘cultural openings. TheseThese three,three, however, however, have been have putting been puttingnoble’.’ another another one was onebuilt was in built West in West BundBund and opened and openedopenings. noble’.’ This This is perhaps is perhaps also aalso fitting a fitting description description West West BundBund is located is located on the on upper the upper reachreach of ofin 2014, up many fascinating fascinating exhibitions exhibitions in West in West Bund.Bund. of theofLius. in 2014, with with the two the museums two museums overlook overlook each eachup many the Lius. The couple The couple spendspend an eye-watering an eye-watering LupuLupu Bridge, Bridge, from from Puxi Puxi and Bingjiang and Bingjiang areas areas in inother other acrossacross the river. the river. Whether Whether it wasit Pudong’s was Pudong’s amount amount of money of money (material (material capital) capital) to build to build a a XuhuiXuhui District. District. Occupied Occupied by Shanghai by Shanghai Longhua Longhuaopening are quite are aquite number a number of civilian-runs, of civilian-runs, but most but mostcollection opening exhibition exhibition ‘Through ‘Through All Ages’ All Ages’ or that orof that ofThereThere collection that has thatwon has praises won praises (cultural (cultural capital), capital), Airport, Airport, piers,piers, warehouses warehouses and other and other industrial industrialWest Bund notthe putresources the resources and energy and energy on producing on producingthey gained West Bund calledcalled ‘Re-View’, ‘Re-View’, both clearly both clearly express express a ado notdoput they gained the ‘entry the ‘entry ticket’ticket’ to West to West BundBund and and infrastructures, infrastructures, it used it used to betothe be last the piece last piece of ofsense sense exhibitions. exhibitions. The year The that year Long that Long Museum Museumthen then of comprehensiveness of comprehensiveness of theofcollection. the collection. The Thegood good built built their their spectacular spectacular museums museums (social(social undeveloped undeveloped land of land Huangpu of Huangpu RiverRiver in Shanghai in Shanghaiquality opened its door, its door, ChinaChina already already saw different saw differentcapital). quality and scale and scale of their of their collection collection are stunning are stunningopened capital). One can Onesay canthat saythese that these are successes are successes that that District. District. After After the Shanghai the Shanghai WorldWorld Expo Expo in 2010, in 2010,even to forums forums to hold todiscussions hold discussions aboutabout civilian-runs. civilian-runs. The Thecannot even those to those experienced experienced in thein field. the field. cannot be reproduced. be reproduced. Liu Heung Liu Heung Shing,Shing, however, however, XuhuiXuhui District District has used has‘West used ‘West Bund’Bund’ as a brand as a brand and and forumforum participants participants were mostly were mostly overseas overseas and local and localrepresents represents an emerging an emerging generation generation of civilianof civilianpositioned positioned itself itself as ‘the as internationally ‘the internationally influential influentialYuz Yuz museums, every every year they year get theytogether get together to discuss to discussrun museums Museum Museum Shanghai Shanghai was founded was founded by the by themuseums, run museums founders, founders, who rely wholess relyon less material on material Binshui Binshui Culture Culture and Financial and Financial Hub’.Hub’. The above The aboveIndonesian-Chinese the issues they face, they face, such such as strategic as strategic positions, positions,capitalcapital Indonesian-Chinese Mr. Budi Mr. Tek. Budi Unlike Tek. Unlike the allthe all-the issues but rather but rather utiliseutilise their their own cultural own cultural and and three three civilian-run civilian-run art museums art museums occupied occupied the theinclusiveness operation models, models, academic academic research, research, collecting collectingsocialsocial inclusiveness of theofLius’ the Lius’ collection, collection, his collection his collectionoperation capital. capital. As forAsWest for West Bund,Bund, it does it does its jobits job West West BundBund Culture Culture Corridor Corridor of Bingjiang, of Bingjiang, wherewherefocuses andeducation the education of theofpublic. the public. The repeating The repeatingas long focuses on contemporary on contemporary art. In art.the In past, the past, he heand the as as long it attracts as it attracts good good exhibitions exhibitions that satisfy that satisfy other other art organizations art organizations also include also include West West BundBundentertained discussions over these over these topicstopics reflectreflect the difficulties the difficultiesShanghai’s entertained the idea the of idea setting of setting up anup artanmuseum art museumdiscussions Shanghai’s growing growing demand demand on contemporary on contemporary art. art. Art Center, Art Center, Shanghai Shanghai West West BundBund Art Storage Art Storage and andin thein of civilian-runs face in face China’s in China’s art ecology art ecology wherewherePerhaps famous the famous Beijing Beijing art zone artSongzhuang, zone Songzhuang, he also he alsoof civilian-runs Perhaps it is not it isnecessary not necessary for collectors for collectors to own to own West West BundBund Art Culture Art Culture Pilot Zone. Pilot Zone. most survives at their at own theirresources. own resources. went to went Jiading to Jiading in Shanghai in Shanghai to search to search for a site, for abut site, butmost survives ‘heavy-weight’ ‘heavy-weight’ collections collections such such as those as those of theof the The above three three civilian-runs civilian-runs are no areexception no exceptionLius and in thein end thechose end chose West Bund. West Bund. This came This came downdown to theto theThe above LiusTek. and ItTek. is inItsuch is in change such change that West that West BundBund One can One say canthat say itthat is at it West is at West Bund’s Bund’s own will own willoriginator it comes it comes to such toissues, such issues, but they buthave theymanaged have managedconnects originator of theof‘West the ‘West Bund’Bund’ brandbrand - Sun-Jiwei1. Sun Jiwei1.when when connects us to us thetopast the and pastpoint and point us towards us towards the the that put thatthe putthree the three civilian-runs civilian-runs there there – to build – to buildHe was get through them them underunder certain certain favourable favourablefuture. Hefirst wasan first official an official in Jiading, in Jiading, who attracted who attracted the theto getto through future.

THETHE YEARYEAR AHEAD AHEAD 20182018

全球藝術之旅全球藝術之旅

LYONLYON BIENNALE BIENNALE BIENNIALE BIENNIALE THETHE 雙年展雙年展

里昂雙年展里昂雙年展

1ST 1ST BANGKOK BANGKOK ARTART BIENNALE BIENNALE 20182018 曼谷雙年展2018 曼谷雙年展2018

The 14th The 14th Lyon Lyon Biennale Biennale is curated is curated by Emma by Emma Lavigne, Lavigne, director director of theof the The first TheBangkok first Bangkok Art Biennale Art Biennale 2018 2018 will be will held be from held from November November 2018 2018 to to Centre Centre Pompidou-Metz, Pompidou-Metz, whichwhich will follow will follow the theme the theme “moderne” “moderne” in thein the February February 2019,2019, at a cost at aofcost 150ofmillion 150 million baht. baht. Wat Arun, Wat Arun, Wat Pho, Wat Lumpini Pho, Lumpini previous previous edition. edition. The biennale The biennale kicks kicks off with off the withdefinition the definition advanced advanced by by Park, Park, Bangkok Bangkok Art Cultural Art Cultural Center Center (BACC) (BACC) and many and many shopping shopping malls malls will will The Lyon TheBiennale Lyon Biennale the poet the Baudelaire, poet Baudelaire, who considered who considered modernity modernity to be to “the be transient, “the transient, the the be turned be turned into galleries, into galleries, so that soThailand’s that Thailand’s first international first international contemporary contemporary 里昂雙年展里昂雙年展 fleeting, fleeting, the contingent; the contingent; it is one it ishalf one of half art,ofthe art,other the other beingbeing the eternal the eternal art festival art festival become become richer.richer. The exhibition The exhibition was sponsored was sponsored by Thai by Thai Bev, Bev, Sept 20,2017-Jan Sept 20,2017-Jan 7,20187,2018 and the andimmovable”. the immovable”. The biennale The biennale is from is from 20 September 20 September 2017 to 2017 7 January to 7 January Thailand’s Thailand’s largest largest winemaker, winemaker, Central Central Group Group and Siam and Siam Piwat,Piwat, hoping hoping to to Thessaloniki Thessaloniki Biennale Biennale of of 2018.2018. One of One theofactivities the activities is thatis Lee that Mingwei Lee Mingwei will exhibit will exhibit artworks artworks of promote of promote Thai Thai cultural cultural characteristics, characteristics, contemporary contemporary art and art revitalize and revitalize Contemporary Contemporary Art Art “Seven “Seven Stories” Stories” at theatFondation the Fondation Bullukian, Bullukian, and will andcooperate will cooperate with Lyon with Lyon tourism tourism through through this four-month this four-month festival. festival. The The Bangkok Bangkok Metropolitan Metropolitan Sept 30,2017-Jan Sept 30,2017-Jan 14,2018 14,2018 city government. city government. The coverage The coverage is found is found throughout throughout the “vision” the “vision” of Lyon of Lyon Authority Authority (BMA) (BMA) and the andThai the Thai Tourism Tourism BoardBoard (TAT) (TAT) will also willcontribute also contribute 8th Turku 8th Turku Biennial Biennial and the andexhibition the exhibition site ofsite theof“Moving the “Moving Garden” Garden” and the and“Bedtime the “Bedtime Stories”, Stories”, to thetodevelopment the development of theofcountry’s the country’s art activities. art activities. Former Former Thai Thai Ministry Ministry Nov 17,2017-April Nov 17,2017-April 8,20188,2018 whichwhich are jointly are jointly created created by artists by artists and local and residents. local residents. of Culture of Culture Secretary-General Secretary-General Apinan Apinan Poshyananda Poshyananda servesserves the exhibition the exhibition as theasartistic the artistic director. director. He said He that said 70 thatartists 70 artists from from Thailand Thailand and other and other Prospect Prospect New Orleans New Orleans 第十四第十四屆里昂當代屆里昂當代藝術雙藝年術展，由雙年展，由龐畢度龐藝畢術度中藝心術梅中斯心分梅館斯館長分館艾館長瑪．艾瑪． Nov 18,2017-Mar Nov 18,2017-Mar 25,2018 25,2018 countries countries will showcase will showcase the theme the theme of thisofexhibition this exhibition “Beyond “Beyond Bliss”Bliss” through through 拉維尼（E 拉維尼（E m m amLmaav i gLnae）女士擔 v i g n e）女士擔任策展任人，延策展人，延續前年圍續前年圍繞著「現代」主繞著「現代」主 their works. their works. 題，引用法國詩人波特萊題，引用法國詩人波特萊爾（Ch 爾（Ch a r l e sa rBl eau s dBeau laidr e）針 e lai r e）針對現代生活的描繪對現代生活的描繪 FotoFest FotoFest 2018 Biennial 2018 Biennial 休斯頓攝影雙年展休斯頓攝影雙年展「現代性就是過渡、短暫、偶然，就是藝術的一半，另一半是永恆和不變」「現代性就是過渡、短暫、偶然，就是藝術的一半，另一半是永恆和不變」，為，為首屆曼谷雙年展將於2018年11月至2019年2月舉行，耗資1.5億泰銖，屆時鄭王首屆曼谷雙年展將於2018年11月至2019年2月舉行，耗資1.5億泰銖，屆時鄭王 March March 10-April 10-April 22 22 雙年展揭開序幕，展期自2017年9月20日至2018年1月7日。其中一個活動是李雙年展揭開序幕，展期自2017年9月20日至2018年1月7日。其中一個活動是李廟（Wat 廟（Wat Arun） Arun）、臥佛寺、臥佛寺（Wat（Wat Pho ） Pho 、倫披尼公園）、倫披尼公園（Lumpini （Lumpini Park） Park）、曼谷藝術、曼谷藝術明維於布魯奇昂基金會展出的「七則故事」明維於布魯奇昂基金會展出的「七則故事」，以及與里昂市政府合作，涵蓋範，以及與里昂市政府合作，涵蓋範文化中心文化中心（BACC）（BACC）及不少購物商場將會變身成藝廊，令泰國首個國際當代藝術及不少購物商場將會變身成藝廊，令泰國首個國際當代藝術 The Biennale The Biennale of Sydney of Sydney 悉尼藝術雙年展悉尼藝術雙年展圍遍布里昂區域「視野」和展場的《移動花園》圍遍布里昂區域「視野」和展場的《移動花園》和《睡前故事》和《睡前故事》，由藝術家與當，由藝術家與當節變得更豐盛。是次展覽由泰國最大釀酒商Thai 節變得更豐盛。是次展覽由泰國最大釀酒商Thai Bev、百貨零售集團Central Bev、百貨零售集團Central March March 16-Jun 16-Jun 11 11 地居民共同創作。地居民共同創作。 Group及Siam Group及Siam Piwat聯合贊助，希望透過這為期四個月的藝術節活動推廣泰國文 Piwat聯合贊助，希望透過這為期四個月的藝術節活動推廣泰國文化特色、當代藝術及振興旅遊業。曼谷都市管理局化特色、當代藝術及振興旅遊業。曼谷都市管理局（BMA）（BMA）及泰國旅遊局及泰國旅遊局（TAT）（TAT） 38th Eva 38th International Eva International Ireland’s Ireland’s Biennial Biennial 亦將會為今次藝術節出一分力，藉此推動該國藝術活動發展。前泰國文化部秘書亦將會為今次藝術節出一分力，藉此推動該國藝術活動發展。前泰國文化部秘書第三十八屆愛爾蘭國際雙年展第三十八屆愛爾蘭國際雙年展長Apinan 長Apinan Poshyananda為是次展覽活動擔任藝術總監。他介紹道 Poshyananda為是次展覽活動擔任藝術總監。他介紹道，70位來自泰，70位來自泰 April 14-July April 14-July 8 8 國及其他國家的藝術家將會透過其作品表現出今次展覽國及其他國家的藝術家將會透過其作品表現出今次展覽「超越極樂」「超越極樂」這主題。這主題。

了！像劉益謙夫婦與余德耀先生這樣重磅的收藏，談到上海民營美術館，不能不談到西岸。因為西岸談到上海民營美術館，不能不談到西岸。因為西岸中包括《中國，一個中包括《中國，一個國家的肖像國家的肖像》《上》海:18 《上海:18 42 — 42 —藏，為後世之人收藏，成為『文化貴族』藏，為後世之人收藏，成為『文化貴族』，結交天下，結交天下了！像劉益謙夫婦與余德耀先生這樣重磅的收藏，也許在未來已經不一定是必要條件了必要條件了。西岸，就這。西岸，就這作為招牌的三家民營美術館是「龍美術館」作為招牌的三家民營美術館是「龍美術館」、西岸、西岸 2010，一座偉大城市的肖像》 2010，一座偉大城市的肖像》《革命中的中國，通《革命中的中國，通良友。這應該也可以代表劉益謙夫婦的心聲。他們良友。這應該也可以代表劉益謙夫婦的心聲。他們也許在未來已經不一定是樣連接著過去，提示我們未來。館、「餘德耀美術館」館、「餘德耀美術館」、「上海攝影藝術中心」、「上海攝影藝術中心」，毫無，毫無往1911之路》往1911之路》以及個人攝影作品集《蘇聯的解體》以及個人攝影作品集《蘇聯的解體》用令世人咋舌的金錢（物質資本）用令世人咋舌的金錢（物質資本）來贏得自己令世來贏得自己令世樣連接著過去，提示我們未來。疑問，他們在中國的民營美術館裡確實是一流的。疑問，他們在中國的民營美術館裡確實是一流的。與《毛以後的中國》與《毛以後的中國》，後者被《新聞週刊》評為「中，後者被《新聞週刊》評為「中人稱羨的藏品人稱羨的藏品（文化資本）（文化資本），取得西岸的「入場券」，取得西岸的「入場券」國的亨利· 國的亨利· 卡蒂埃-布列松」卡蒂埃-布列松」。。來建設自己令人刮目的美術館來建設自己令人刮目的美術館（社會資本）（社會資本）。從這個。從這個西岸，是位於盧浦大橋上游由徐匯區管轄的浦西濱西岸，是位於盧浦大橋上游由徐匯區管轄的浦西濱意義上說，他們的成功幾乎是不可複製的。而劉香意義上說，他們的成功幾乎是不可複製的。而劉香江地塊，原來是龍華江地塊，原來是龍華機場、江邊碼頭、倉庫等工業機場、江邊碼頭、倉庫等工業大多數民營美術大多數民營美術館在一個熱館在一個熱熱鬧鬧的開館展後就熱鬧鬧的開館展後就成則代表著正在冒頭的新一代民營美術館，其創辦成則代表著正在冒頭的新一代民營美術館，其創辦與市政設施，是上海市區裡屬於黃浦江的土地中最與市政設施，是上海市區裡屬於黃浦江的土地中最偃旗息鼓了偃旗息鼓了，而這三家民營美術，而這三家民營美術館，則在西岸推出館，則在西岸推出人不在乎有多少物質資本，而是更擅長帶動自己的人不在乎有多少物質資本，而是更擅長帶動自己的後一塊沒有開發的地塊。2010年上海世博會後，徐後一塊沒有開發的地塊。2010年上海世博會後，徐了許多精彩的展覽，令人對西岸刮目相看。了許多精彩的展覽，令人對西岸刮目相看。文化資本和社會資本。對西岸來說，有好的展覽能文化資本和社會資本。對西岸來說，有好的展覽能匯區以「西岸」為品牌，將其定位為「有國際影響力匯區以「西岸」為品牌，將其定位為「有國際影響力夠滿足上海這個魔都對藝術空間最前沿需求就OK 夠滿足上海這個魔都對藝術空間最前沿需求就OK 的濱水文化金融集聚區」的濱水文化金融集聚區」，上述三家民營美術館就，上述三家民營美術館就因為在今天的中國，民營美術因為在今天的中國，民營美術館不可謂不館不可謂不入駐其中濱江的「西岸文化走廊」入駐其中濱江的「西岸文化走廊」，那裡的相關藝，那裡的相關藝多，但多，但大多數大多數沒有把財力、精力放在如沒有把財力、精力放在如何何術機構還包括西岸藝術中心、西岸藝術品保稅倉庫術機構還包括西岸藝術中心、西岸藝術品保稅倉庫做好展做覽上。龍美術好展覽上。龍美術館開館的當年，中國館開館的當年，中國以及西岸文化藝術示範區等。以及西岸文化藝術示範區等。就有了民營美術就有了民營美術館的各種論館的各種論壇，參加論壇，參加論壇壇的是海內外民營美術館的同行，他們年復的是海內外民營美術館的同行，他們年復這三家這民三營家美民術營館美能術入館駐，可能入駐，可以說是以西說岸是的西選岸的選一年地聚在一起討論所面臨的各種問題，一年地聚在一起討論所面臨的各種問題，擇—— 擇為了打 — — 為了打造西岸造的品西岸牌。他的品牌。他們稱得上們稱是「力得上是「力其中包括美術館的戰略定位、運營模式與其中包括美術館的戰略定位、運營模式與邀」加入邀」加入，當然，走進西岸的路各不相同。，當然，走進西岸的路各不相同。策略、學策略、學術研究、收術研究、收藏以及公共藏以及公共教育等。教育等。這些反反覆覆地討論的問題反映了中國藝這些反反覆覆地討論的問題反映了中國藝「龍美術館」由著名藏家劉益謙夫婦創辦，太太王「龍美術館」由著名藏家劉益謙夫婦創辦，太太王術生態下民營美術館的舉步維艱，因為除術生態下民營美術館的舉步維艱，因為除薇親自擔薇親自擔任館長。他們夫任館長。他們夫婦倆的收婦倆的收藏堪稱各藏堪有所稱各有所了少數了少機構數有地機構方有地政府方的政認府可的與認政可策與支政策支愛：先生喜歡書畫、古董，太太喜歡當代藝術。該館愛：先生喜歡書畫、古董，太太喜歡當代藝術。該館持，有持，有商業機構商業輸血支撐，大多數仍處機構輸血支撐，大多數仍處於於 2013年4月就在浦東開館，卻被西岸的理念、規劃 2013年4月就在浦東開館，卻被西岸的理念、規劃自生自滅的狀態。自生自滅的狀態。與政策所吸引，在不放棄浦東的前提下新建了西岸與政策所吸引，在不放棄浦東的前提下新建了西岸館，並在2014年開館，一城雙館，隔江對望。無論館，並在2014年開館，一城雙館，隔江對望。無論其實，論其實，論壇上所討壇上所討論的這些問題，也困擾論的這些問題，也困擾是浦東的開館展「古往今來」是浦東的開館展「古往今來」，還是西岸館的開館，還是西岸館的開館著上述著上三家述民三營家美民術營館，但美術館，但天時地天利時人地利人展「開今· 展「開今· 借古」借古」，都鮮明地體現了他們的收藏的綜，都鮮明地體現了他們的收藏的綜和，讓和，讓他們從中擺他們從中擺脫出來。他們脫出來。他們能「走出能「走出合性特色，而他們的收藏的規模合性特色，而他們的收藏的規模與品質，即便是內與品質，即便是內埃及」埃，取及」決，取於兩個決於兩個關鍵因素：一個關鍵因素：一個是三是三行看來也感到震撼。行看來也感到震撼。家機構創辦人的個人魅力，一個是「西岸」家機構創辦人的個人魅力，一個是「西岸」的凝聚力的凝（包括其背後聚力（包括其背後所蘊藏的眼光、決所蘊藏的眼光、決「余德耀美術館」「余德耀美術館」，其創辦人余德耀先生為印尼華，其創辦人余德耀先生為印尼華心與魄力）心與魄力）。真理其實很簡單：民營美術館。真理其實很簡單：民營美術館人。他的收藏不像劉益謙夫婦那樣包羅萬象，僅限人。他的收藏不像劉益謙夫婦那樣包羅萬象，僅限作為供作為供給面，向社會公眾提供精彩的展覽給面，向社會公眾提供精彩的展覽於當代藝術。之前，他曾經動過在北京著名的藝術於當代藝術。之前，他曾經動過在北京著名的藝術是必須的；而西岸作為需求面，則反映了上是必須的；而西岸作為需求面，則反映了上區宋莊辦美術館的念頭，區宋莊辦美術館的念頭，又跑到上海嘉定為美術館又跑到上海嘉定為美術館海這樣處於全國乃至全球發展前沿的面向海這樣處於全國乃至全球發展前沿的面向選址，不過最後卻選擇了選址，不過最後卻選擇了「西岸」「西岸」。這就歸結到「西。這就歸結到「西未來的城市，其空間變未來的城市，其空間變化的最新需求。優化的最新需求。優岸」這個品牌的始作俑者孫繼偉1。他先在嘉定區岸」這個品牌的始作俑者孫繼偉1。他先在嘉定區秀的民營美術館，必須適應這種迅速變化秀的民營美術館，必須適應這種迅速變化做地方官，吸引余德耀去嘉定考察，做地方官，吸引余德耀去嘉定考察，又調到徐匯區又調到徐匯區的需求！的需求！當書記，結果引導餘德耀把美術館建在西岸。當書記，結果引導餘德耀把美術館建在西岸。從這個角度看，西岸對大多數民營美術從這個角度看，西岸對大多數民營美術館館至於「上海至於「上海攝影藝攝術中心」影藝術中心」，作為中國首家公認的，作為中國首家公認的來說，是一個可望不可即的舞來說，是一個可望不可即的舞臺：劉臺：劉益謙益謙余耀德美術館余耀德美術館非營利攝影藝術機構，非營利攝影藝術機構，上海首家致力於攝影的美術上海首家致力於攝影的美術夫婦與余德耀，可謂老一代民營美術館創夫婦與余德耀，可謂老一代民營美術館創館，其創始人劉香成先生本身就是攝影家，不像前館，其創始人劉香成先生本身就是攝影家，不像前辦人中拔辦人中拔尖的佼尖的佼者，都佼佼者，都是從 2是 0從 0 82年前 0 0 8 年前二家美二家美術術館那樣都是企館那樣都是企業家出身的收業家出身的收藏家。他做藏家。他做後快速後成長快速的成長藝術的市場上藝術市場上拼殺出來拼殺的收出來的收過新聞攝影師，曾獲得普利策新聞獎，還與塔森、過新聞攝影師，曾獲得普利策新聞獎，還與塔森、藏家。正如余藏家。正如余德耀先生說的：德耀先生說的：「收藏「收應當藏應當維京、企鵝等知名出版社合作出版了許多書籍，其維京、企鵝等知名出版社合作出版了許多書籍，其是一份崇高的事業— 是一份崇高的事業— —是為自己的後代收 —是為自己的後代收

余耀德美術館余耀德美術館

8th Glasgow International 8th Glasgow International 第八屆格拉斯哥國際雙年展第八屆格拉斯哥國際雙年展 April 20 – May April 20 7 – May 7 8th Bucharest Biennial 8th Bucharest Biennial 第八屆布加勒斯特第八屆布加勒斯特當代藝術雙年展當代藝術雙年展 May 17May – July 178– July 8 16th Venice Architecture 16th Venice Architecture Biennale Biennale 第十六屆威尼斯建築雙年展第十六屆威尼斯建築雙年展 May 26-November 25 May 26-November 25

16TH16TH VENICE VENICE ARCHITECTURE ARCHITECTURE BIENNALE BIENNALE

第十六屆威尼斯建築雙年展第十六屆威尼斯建築雙年展

TRIENNIAL TRIENNIAL 三年展三年展

Yokohama Yokohama Triennaleis Triennaleis 2017 2017 The 16th The International 16th International Architecture Architecture Exhibition Exhibition will take will place take place from May from 26th May 26th 橫濱三年展2017 橫濱三年展2017 to November to November 25th 2018 25th (Preview 2018 (Preview May 24th May and 24th25th) and 25th) in theinGiardini the Giardini and the and the Sept 20,2017-Jan Sept 20,2017-Jan 7,20187,2018 Arsenale, Arsenale, and around and around other other venuesvenues in Venice. in Venice. The curators, The curators, Yvonne Yvonne FarrellFarrell and and 1st Riga 1stInternational Riga International ShelleyShelley McNamara McNamara titled the titled Exhibition the Exhibition Freespace, Freespace, and explained and explained that ‘Freespace that ‘Freespace 2nd Bruges 2nd Bruges Triennial Triennial Biennial of Contemporary Biennial of Contemporary 第二屆比利時布魯日三年展第二屆比利時布魯日三年展 describes describes a generosity a generosity of spirit of and spirita and sensea of sense humanity of humanity at the at core theofcore architecture's of architecture's Art (RIBOCA) Art (RIBOCA) May 5-September May 5-September 16 16 agenda, agenda, focusing focusing on theonquality the quality of space of space itself; focuses itself; focuses on architecture’s on architecture’s ability ability to to 首屆里加當代藝術雙年展首屆里加當代藝術雙年展 June 2-October 28 June 2-October 28 provide provide free and free additional and additional spatialspatial gifts togifts those towho thoseuse who it and use on it and its ability on its ability to address to address 1st Front 1st International Front International the unspoken wisheswishes of strangers; of strangers; celebrates celebrates architecture’s architecture’s capacity capacity to findtoadditional find additional 10th Berlin Biennale for 10th Berlin Biennale for the unspoken Cleveland Cleveland Triennial Triennial of of Contemporary Art Art Contemporary and unexpected and unexpected generosity generosity in eachinproject each project - even-within even within the most theprivate, most private, defensive, defensive, Contemporary Contemporary Art Art 第十屆柏林當代藝術雙年展第十屆柏林當代藝術雙年展 exclusive 第一屆前沿國際：克利夫蘭當第一屆前沿國際：克利夫蘭當 exclusive or commercially or commercially restricted restricted conditions.’ conditions.’ Moreover, Moreover, ‘Freespace ‘Freespace encourages encourages June 9-September 9 June 9-September 9 代藝術三年展代藝術三年展 reviewing reviewing ways ofways thinking, of thinking, new ways newofways seeing of seeing the world, the world, of inventing of inventing solutions solutions where where July 14-September July 14-September 30 30 33th Sao Paulo Art Biennial 33th Sao Paulo Art Biennial architecture architecture provides provides for thefor well the being welland being dignity and dignity of eachofcitizen each citizen of this of fragile this fragile planet.’planet.’ 第三十三屆聖保羅雙年展第三十三屆聖保羅雙年展第十六屆國際建築展覽將於2018年5月26日至11月25日第十六屆國際建築展覽將於2018年5月26日至11月25日（5月24日和25日預覽）（5月24日和25日預覽）在賈在賈 September 7-December 12 September 7-December 12 爾迪尼-納克索斯和威尼斯軍械庫以及威尼斯其他地點舉行。爾迪尼-納克索斯和威尼斯軍械庫以及威尼斯其他地點舉行。策展人Yvonne 策展人Yvonne FarrellFarrell 和Shelley 和Shelley McNamara將此展命名為Freespace McNamara將此展命名為Freespace （自由空間）（自由空間），並解釋說，並解釋說：「著重於空：「著重於空 Havana Art Biennial Havana Art Biennial 間本身的質量間本身的質量，自由空間描述了在建築議程核心中的慷慨精神和人性，自由空間描述了在建築議程核心中的慷慨精神和人性；關注建築師；關注建築師哈瓦那雙年展哈瓦那雙年展 To Be Confirmed To Be Confirmed 為使用者提供免費和額外的空間禮物的能力為使用者提供免費和額外的空間禮物的能力，以及滿足陌生人不言而喻的願望的能，以及滿足陌生人不言而喻的願望的能力；祝賀建築師們在每一個項目中尋找到額外和意想不到的寬容的能力力；祝賀建築師們在每一個項目中尋找到額外和意想不到的寬容的能力 - 即使在最 - 即使在最 1st Bangkok 1st Bangkok Art Art 私人的私人的、最防禦性的、最防禦性的、獨家的或受到商業限制的情況、獨家的或受到商業限制的情況。」此外。，」「自由空間鼓勵審查的此外，「自由空間鼓勵審查的 Biennale Biennale 2018 2018 曼谷雙年展2018 曼谷雙年展2018 思維方式思維方式、新世界觀、新世界觀，以及新的發明方案，以及新的發明方案。在此建築物為這個脆弱的地球的每個公民。在此建築物為這個脆弱的地球的每個公民 To Be Confirmed To Be Confirmed 的福祉和尊嚴提供解決方案的福祉和尊嚴提供解決方案。」。」

YOKOHAMA YOKOHAMA TRIENNALEIS TRIENNALEIS 20172017 橫濱三年展2017 橫濱三年展2017

The sixth The sixth edition edition of theofYokohama the Yokohama Triennaleis Triennaleis is held is from held from August August 4 4 to November to November 5, 2017. 5, 2017. Through Through a series a series of discussion of discussion of theofConception the Conception Meeting, Meeting, whichwhich is consisted is consisted of theofdirectors the directors and experts and experts in different in different fields fields at different at different age decided age decided the exhibition the exhibition title of title Yokohama of Yokohama Triennale Triennale 2017 2017 as “Islands, as “Islands, Constellations Constellations and Galapagos.” and Galapagos.” “Islands,” “Islands,” “Constellations” “Constellations” and “Galapagos” and “Galapagos” are words are words that open that possibilities open possibilities for usfor to discuss us to discuss various various issuesissues such such as isolation as isolation and connectivity, and connectivity, imagination imagination and guidance, and guidance, distinctness distinctness and diversity, and diversity, among among others. others. In contemplating In contemplating what what we shall we shall consider consider wisdom wisdom for our forfuture our future during during this time this of time uncertainty, of uncertainty, we hope we to hope to engage engage peoplepeople in these in these discussions discussions using using our imagination our imagination and creativity. and creativity. 第六屆橫濱三年展於2017年8月4日至11月5日舉行。由跨越了不同領域和年第六屆橫濱三年展於2017年8月4日至11月5日舉行。由跨越了不同領域和年齡層的專家組成的齡層的專家組成的「構想會議」經過討論，確定了橫濱三年展2017以「構想會議」經過討論，確定了橫濱三年展2017以「島嶼、「島嶼、星座和加拉帕戈斯」為主題。星座和加拉帕戈斯」為主題。「島嶼」「島嶼」、「星座」、「星座」、「加拉帕戈斯」這幾個關鍵、「加拉帕戈斯」這幾個關鍵字還能展現孤立、連通性、想像力、指標字還能展現孤立、連通性、想像力、指標（路標）（路標）、獨自性、多樣性等各種含、獨自性、多樣性等各種含義。以這個標題為線索，在前景不透明的複雜時代，憑藉人類的想像力和創義。以這個標題為線索，在前景不透明的複雜時代，憑藉人類的想像力和創造力，與眾人共同思考面向未來的智慧。此外，致力於打造不限於視覺體驗的造力，與眾人共同思考面向未來的智慧。此外，致力於打造不限於視覺體驗的「對話．討論」「對話．討論」、「思考」和、「思考」和「共用．共存」「共用．共存」的平臺，在展會開始之前的2017年的平臺，在展會開始之前的2017年 1月起定期召開 1月起定期召開「橫濱圓桌會議」「橫濱圓桌會議」，討論有關話題的諸多問題和可能性。，討論有關話題的諸多問題和可能性。

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