特辑 II
FE ATU R E II
上海民营美 术 馆 特 辑
Shanghai Private Museum Special Issue 上海文化环境综述
A Review of the Cultural Environment in Shanghai 文 / 李振华
Te x t / L I Z h e n h u a
* 前言 *
办奥运会（2008年）之后的又一大国际性城市，
细致的了解文化环境的构成关系，以及城市中文
上海在来自民间自由组织的文化机构、来自企业
化机构的变迁，以及所带来的新文化的动向。伴
上海民营美术馆自2000年后开始，扮演着重
的资金支持、来自市府的协助，逐渐构建了一个
随着人员流动性和大型文化交流项目的发生，上
要的文化发动机和催化剂角色。这些机构伴随着
全新而多样的文化生态。上海这一相对于北京的
海的区域特性不如杭州、南京那样潜在，在某些
上海美术馆、艺术空间、画廊的成长一道构成了
政治中心城市，在商业和公共性方面有着丰富的
特定的情况下，上海确实在反射着整个中国当代
今日上海当代文化的版图。从今天往后看，1996
经验和创造力，其政府在文化开放性方面的努力
文化最集成的现状：快速发展、城市化、金融特
年的香格纳画廊，1996年的上海双年展，2000年
可以通过各种在上海发生的大型文化项目中可
性、港口等等。
的东大名艺术空间、比翼艺术中心，都在不同的
见。如上海双年展之外还有上海国际电影节、上
领域为更加庞大和职业的私人机构提供了可能的
海国际电视节、上海国际舞蹈节、上海国际艺术
空间和经验。而来自杭州、上海、南京等地的教
节等等国家主办的大型国际性文化项目层出不
育转型、文化发展，也为这经济发展中的城市需
穷。
要提供了资源。来自北京的竞争也在带动着这一 需求的成熟和成长。 上海自身生发的《车库》艺术展（1991），
2000年后民营美术馆、机构和画廊在上海的 兴起，也就并非偶然了。 开始这个文本，我希望把时间设置在2000年 之后这一节点，希望在这个时间到现在10年的发
理解上海当代艺术的发展和繁荣，也需要
展和文化生态现象，可以成为一个可被参照的曲
了解上海政府对国际文化交流的推进和重视，另
线，让我们发现文化潜在的动向，文化建设中机
外就是上海和杭州、南京等地区的文化地缘关
构和个体之间的动态关系。
《超市》艺术展（1999），和在杭州辐射到上海
联，如来自杭州中国美术学院的艺术家长期占据
的《影像•现象》录像艺术展（1996），后来的
着上海艺术家的大多数，并伴随着张培力、邱志
《录像艺术观摩》展（1997），以及北京的《89
杰、吴美纯、耿建翌等逐渐在杭州中国美术学院
艺术大展》（1989），《后感性：异型与妄想》
开展的教育，更多的应届毕业生都选择上海作为
（1999），《上海双年展》（1996至今），上海
始发站。上海本地的艺术家在北京或是国际舞台
当代画廊博览会（SHcontemporary, 2007至今）、
上更多的出现，甚至一度出现上海艺术家为代表
上海电子艺术节（eARTS, 2007年至今）等等文化
的中国当代艺术现象，与广州的现象一样可以被
交融的现象，以及来自不同地区对上海文化展示
看做是地区文化在国际文化针对中国（中国特性
空间的需求，上海因其地理便利、经济发展、文
Chineseness）的深入了解的需要，构成的新文化
化国际化的独特特征，构成了文化空间大发展的
动向，中国这一文化概念正在逐渐的被地区化，
可能。大量的艺术家因为这些独立组织的展览和
反之构建了一个中国文化的普遍性。北京正在
上海双年展，阶段性的开放性和国家化文化现象
因为这样的文化需要逐渐的被边缘化，但是就国
由组织的展览，策展人为宋海东，艺术家和策展
吸引了大量来自其他地区的艺术家，而来自较近
内的文化网络来看，北京依旧聚集着最多的艺术
人依旧按照之前的展览方式，互相按照认识人的
地区的艺术家则安于再上海的生活与文化环境，
家和画廊、机构、拍卖公司等。并在各地的双三
程度判断展览和作品。自1989年的中国现代艺术
2000年后上海逐渐开始出现与北京并行的文化集
年展方面，来自北京的艺术家依旧保持着主体力
大展之后1991年的上海并没有什么激进和突出的
聚现象，构成了一个相对完整的文化环境。
量。
表现。反而是在艺术媒材与艺术自身的探索中，
2010年上海伴随世博会的召开成为继北京举
58 艺术ISSUE ISSUE No.7
从这些宏观的方面出发，我们就需要更加
* 当代艺术发展大事件 * * 1 991年 车库艺术展 * * 1 996年 上海双年展 * * 1999年 超市 * * 2 000年 不合作方式 * * 2006年 张江现场 * * 2 0 0 7年 上海电子艺术节（ eARTS ） * * 2 0 0 7年 上海当代（ SHcontemporar y ） * 1991年的车库艺术展，可以被看做是一次自
呈现其独到的特征。如张培力的录像艺术就是在
民生美术馆 Minsheng Ar t Museum
这个展览上开始展出的，1991年也可以被看做是
的双生项目。现场的不同在于，上海的展览借助
代艺术的动态现象，尤其反映了90年代末大批年
录像艺术展览的元年。此展览并没有什么集体的
超市这一消费场所，构建了一个展出和消费的关
轻艺术家的需要。
或是方向上的主张，艺术家作为个体被一种松散
系，而在北京的《后感性》展览却延续了来自85
的组织方式呈现在一个地下的公共空间。
2006年张江现场中，汪建伟的多媒体开幕
时期的实验性，持续的挑战观众的神经和艺术的
式，伴随着表演、影像、声音充满整个空间，其
1996年上海双年展（策划人：王林）依旧徘
边界。在《超市》展览中即使是朱昱的《全部知
复杂而多样的表现，再次为当代艺术的发展提出
徊在一个目的不清的方向上，主要还在关注中国
识学的基础》（人脑罐头），也没能抵抗上海观
了一个新的预设和难题。从新媒体和教育的角度
画和本土美术的发展，于当代可以说没有任何关
众持续高涨的消费情绪，这可以被看做是上海未
出发，汪建伟的项目却恰好对正在发生的更大范
联，但是文化上的突变却在2000年导致了上海双
来艺术发展的征兆，无论是如何生硬、挑战、令
围的新媒体艺术运动提供了认识上的综合线索。
年展第一次国际化的转型，并作为上海双年展正
人生厌的装置、行为等，难于解读的作品，都被
张江这一浦东的高科技园区，也在与新媒体、多
式亮相的第一届，效果是轰动性的，有着来自海
这个逐渐成长的经济都会所消费。
媒体、公共项目的合作中，变为可见的企业的文
外的中国85艺术家参与，国际化的策划团队，从
2000年的上海双年展期间，这一来自官方的
化空间，这一项目的重要可作伙伴是沪申3号画
一开始就在讨论上海这一国际化城市的角度，
国际项目导向之下，还有一个平行发展的项目
廊，展览分为张江现场和沪申3号画廊展览两个
都为其后来的成就奠定了基础，一直到2008年的
《不合作方式》由艾未未和冯博一策划，在东廊
部分，除了在展厅呈现的展览作品（录像、装置
《快城快客》更是将这一城市发展，生存状态推
展出，与那些要求中国当代艺术合法化的需求不
等）之外，还生产了大量的公共作品。之后的张
至了顶点，不断增加的观众也增进了上海美术馆
同，这个展览依旧按照个人化、不申报的方式出
江现场因为资金和创造力的缺乏，再也没能有其
在政府针对当代艺术和公共教育的需要上达成了
现在上海，展出的顾德薪用肉做的装置，孙原、
开幕的盛况。2006年的现场张江项目一道还有张
某种平衡。
彭禹的毒狗，以及何云昌、朱昱、乌尔善等等重
江现代美术馆落成，之后由李旭担任馆长。
1999年的《超市》艺术展可以被看做是和 《后感性》系列展览发生在同一时间，不同地点
要的实验艺术家的作品，无不在挑战展览的尺 度，构建了一个生动的国际化线索之外的中国当
2007年上海电子艺术节由来自官方的5个机构 推出，并与奥地利林兹电子电子艺术节合作，每 ISSUE No.7 艺术ISSUE 59
特辑 II
FE ATU R E II
届展览的规模庞大，除了介绍来自海外的媒体艺 术作品、艺术家之外，还有专门为上海市民和学 生推出的项目。上海电子艺术节第一次将媒体艺 术和当代生存概念带入了日常生活和公共环境， 每年参与此项目的人超过5万。上海电子艺术节一 方面接续了国际文化交流的线索，一方面也为媒 体艺术在中国的发展确立了位置。2009年的上海 电子艺术节因为其资金的状况而缩减成为只有3个 项目的艺术节，规模远远小于之前两届。 2007年同时发生在上海的上海当代 （SHcontemporary）画廊博览会也在上海登陆， 这与之前在北京的CIGE和艺术北京有着明显的 距离感，其操作机构来自海外，操作者为经验丰 富、职业的博览会操盘手，中国艺术家周铁海也 介入其中。第一届的规模和质量，让其在整个行 业中脱颖而出。大量来自海外的画廊、机构、艺 术家、专家齐聚一堂。逐渐让人有着文化产业链 中交易的环节逐渐的在从北京转移到上海的趋 势。但是2008年上海遭遇了来自香港的冲击，同 时因为海外操盘手和周铁海的相继离开，此博览 会一度低迷，学术质量大幅下降，参与画廊的数 量和质量锐减。2009年秦思源接受总监一职，才 让上海当代出现艺术质量的回暖现象。但是终究 大势已去，香港的画廊博览会正在因为其经济政 策和地理便利，以及职业的运营，成为亚洲最重 要的艺术商业的重镇。 综合看这些发生在上海的大事件，都在不同 的方面拓展了上海文化上的自由度和多样的资金 上的介入，来自上海政府的政策也让上海焕发着 新文化的青春。但是我们必须要认清的是资金和 政策的拔苗助长所带来的不稳定性，2010年的世 博会，这一最好的机遇，可以适时的更大的活跃 上海的文化氛围，但是事与愿违的因为世博会安 全和管理上的需要，文化艺术除了在画廊等小型 地区发生以外，世博期间就没有什么可以引人注 意的大型艺术项目了，这让未来上海的文化氛围 有些不可预测，也许2010年是上海在文化上的拐 点。
* 官方及官方参与民营美术馆 * 官方与官方参与的民营机构不同于之后讲到 的机构，因其肩负着明确的政治和公共责任，官 方机构的主流方式是建立在文化、推广、政策、 拨款、管理等方面的通力合作来完成的。因为政 策和政治的需要，其主办的项目往往可以占有最 大的媒体空间。因为官方的大力支持和扶植，为 现当代艺术逐渐进入公共空间和日常生活提供了 基础。这里还有一个分别是纯官方拨款机构和半 官方机构，纯官方拨款机构如上海美术馆和北京
60 艺术ISSUE ISSUE No.7
上海东大名艺术中心 Ddm Warehouse
的中国美术馆，其政策和政治的需要为主导，艺
上海多伦现代美术馆由上海市虹口区文化
所作为的了。这中间我们多少可以看到2000年后
术发展的需要为辅助，通常的生存方式为租赁场
局创建，是一个按现代多功能目标规划建设的、
资本市场与城市发展对艺术的商业需要，以及艺
地。当然这在2000年后的上海双年展或是2005年
为中国当代艺术发展和服务的非营利文化艺术机
术经济大好的2006-2008年期间上海艺术市场的不
之后的中国美术馆表现出了以艺术为主导的方
构，是一个当代艺术国际化交流的平台。
温不火。上海并没有因为经济的兴起，导致艺术
向，但就其年度展出的展览数量和内容来看也很
多伦建设初期，沈其斌和顾振清的加入让这
上的上扬现象，也没有因为经济的衰落，导致艺
难将其看做是一个纯粹的、学术的博物馆。那些
一机构焕发了上海从未有过的活力和光彩，大量
术上的衰败。上海的商业机构更加遵循商业的规
受到部分国家支持和管理的艺术机构，有着一定
年轻的艺术家在此集结，多少有些超越上海美术
律，在默默的、自然的成长或是消亡，最早开始
的自由度，但因为附属于政府的单位，其在内容
馆日常展出的现象，因其资金限制，此机构一直
的商业机构和非盈利空间依旧保持其多样的、理
上的自由度也就非常有限了。
很难平衡其展览上的诉求和市场的接受。多伦经
想的方式存在着，当然这两个机构也掌握着最大
历了几个重要的展览项目之后，因为顾振清和沈
的艺术家和创造的资源，唯有时间和坚韧，私人
* 1956年
上海美术馆 *
其斌的离开，逐渐的自我边缘化，因为没有更好
机构和画廊的资金基础，维系了一个持续发展的
www. s h a n g h a i b i en n a l e. co m
的管理者和之后管理体制的懈怠，多伦于2009年
现实。
上 海 市 南 京 西 路3 2 5号
的《80年代》文献展览的参观者也寥寥，展览布
1956年上海美术馆落成，1986年原址改建， 1996年至1998年举办了两届美术双年展，2000年
置可能因为缺少资金也略显粗陋。
* 1996年
香格纳画廊 *
www.shanghar tg aller y.com
后的上海美术馆成为中国乃至亚洲最重要的美术
* 2006年 张江当代艺术馆 *
机构之一，其地位已经隐隐超越中国美术馆。
www. z -a r tcen te r. o r g
纳画廊，到如今已在上海莫干山50艺术中心内拥
2000年的上海美术馆借助双年展的势头，率先引
上 海 市 祖 冲 之 路4 1 9号
有了由2个旧仓库改造而成的空间（香格纳画廊主
1996年在宾馆走道上开始第一个展览的香格
入策展人制度和国际策展人体制，这为上海美术
张江当代艺术馆是由上海市浦东新区张江功
馆打开了国际化道路的第一步，之后每2年一届的
能区域管理委员会和上海张江高科技园区管理委
展览逐渐成为中国唯一的具有国际化水准的双年
员会投资建造，委托上海张江文化艺术有限公司
香格纳画廊一直是上海最有推动力的艺术商
展。上海美术馆除了双年展之外还展出来自国际
管理的一所公益性文化艺术机构，于2006年12月
业机构，从劳伦斯和周晓雯开创机构至今，画廊
和国内的艺术家作品，风格各异的文化诉求，往
24日落成。此艺术机构一直没有什么明确的项目
代理了几乎上海、杭州所有最优秀的艺术家，其
往让人很难判断其学术方向。正如海外政评中所
可以呈现其学术方向，因为资金来自当地政府，
中杨福东、徐震、杨振中更是其画廊重要的代表
说的中国政治改革的碎步前行一致，上海美术馆
除了每年的现场张江项目（2006-2008）以外，此
人物。除了基础的买卖关系之外，香格纳还大量
作为一个肩负着政治宣传任务的美术机构，并没
机构并不具备博物馆或是非盈利空间的特征，有
的参与到艺术家项目的制造之中，大量艺术家的
能摆脱政治需要和文化需要的矛盾。一方面双年
些类似民间文化馆和画廊的性质。
展览部分完成于香格纳画廊，还有大部分在国际
展的开放性也逐渐的在收缩，2010年的双年展策 展团队就不再有海外策划人了。
除了之前谈及的关于政府管理所导致的政策
朱屺瞻美术馆 *
立了一个新空间（香格纳北京）。
展出和国内博物馆展出中出现。
限制，以及其直接导致的内容上的局限性之外。 官方的和半官方的机构都面临着在资金和政策转
* 1995年
楼和H空间）。2008年起，香格纳画廊在北京设
型期的问题，如官方就开放美术馆的政策所导致
* 1998年
比翼艺术中心 *
www.biyiar t.com
www. z h u q i z h a n . o r g
的拨款变化现象，一个方面官方美术馆要响应政
上 海 市 欧 阳 路5 8 0号
1998年由乐大豆发起，比翼一直在尝试以不
府的号召，做好完全免费开放的准备，另一个方
同的方式支持艺术、鼓励艺术、发展艺术，努力
朱屺瞻艺术馆是以中国当代著名书画大师朱
面政府为开放准备了相应的资金上的补贴。纯粹
创造艺术的良好环境。无论是与艺术家的合作还
屺瞻先生命名的一座公立美术馆， 1995年建成开
的官方美术馆在这样的变革之下，除了在政策上
是与各种艺术机构、团体合作，比翼一直致力于
馆。它既是收藏、陈列与研究朱屺瞻先生书画艺
的完全顺应之外，资金上也要完全依靠政府拨款
挖掘边缘的、前卫的艺术想法和理念，为之提供
术的专门机构，也是开展国内外艺术交流的重要
来完成大型展览项目，及场馆的维护、人员开
一个舞台，在这里不同的想法和独特的思路可以
窗口，履行中小型艺术博物馆的功能。在2004年
支。半官方机构，将很难获得政府的直接拨款，
相互融合、相互作用、相互影响。比翼艺术中心
左右顾振清的介入让这一美术馆开始有当代的动
其资金上的压力会伴随着政策的到来更加艰难，
是一个自主经营的非营利性艺术中心，包含着艺
向，但是因为顾振清的离开，此机构也就没有再
困境来自于如果完全免费开放其门票收益也就没
术和商业两个方面。中心的宗旨是促进上海以及
延续期间的现当代的突变，但是作为一个曾经展
有了，作为与其他机构之间的门槛设置，半官方
其他地区当代艺术的发展。就如比翼的英文名字
出当代艺术的场所，我们不难发现这一需要并非
美术馆必须要考虑未来资金的来源问题，以及如
"bizart"一样，比翼的结构包含了商业和艺术两个
单方面的来自策展人的需要，也来自艺术机构在
何适应政府政策，并获得适当的拨款，拨款也就
方面，同时这个名字也真实地体现了生存状态。
经营和发展上的需要，问题是转型来的突然，去
意味着相应的政府项目的到来，这个困境将是如
由于是非营利的，也受到中国国内有关艺术基金
的也迅速。
何解决学术需要与政府需要之间的平衡问题。
的特殊环境的影响，致使比翼必须通过自己活跃 的商业运作存在。由于在中国没有一个公共的基
* 2003年
上海多伦美术馆 *
www. d u o l u n m o m a . o r g 上 海 市 多 伦 路2 7号
* 私人机构、画廊 * 在上海的私人机构和画廊此起彼落，除了最 早开始的香格纳画廊、东大名艺术空间，鲜见有
金会给这样的独立艺术组织支持，其在商业方面 的利润都用于艺术活动，来保证其在本土以及国 际艺术世界中的方向。2000年乐大豆和魏凯琳找
ISSUE No.7 艺术ISSUE 61
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FE ATU R E II
到长期的比翼空间。同年徐震成为比翼艺术中心 总监。2002年创办人之一的魏凯琳离开比翼艺术
* 2004年
外滩18 *
www. b u n d 1 8 . co m
和学术理念使它成为一个新的国际化的当代艺术 平台。馆内收藏了国内外优秀艺术家的作品，包
中心，2003年比翼迁至莫干山50号。2007年乐大
2004年成立的外滩18，多少从模仿3号的成
括法国艺术家恺撒的雕塑《大拇指》和美国著名
豆离开比翼艺术中心，与DefneAyas成立ARTHUB
功之中摸索前行，2005年Vivian Westwood的艺术
雕塑家罗伯特•印第安那的雕塑——"LOVE"等一
亚洲机构，并移居泰国。2009成立FarEastFarWest
展，重要的展览有乐大豆策划的DROOG Design
批艺术杰作。艺术馆的功能包括展览、研究、收
公司，支持新的艺术项目。
和OlivoBarbieri摄影展，之后因为内部的调整，陆
藏、学术交流、国际艺术家工作室等。证大现代
蓉之与乐大豆相继离开顾问一职。2007年外滩18
艺术馆将鲜明地对当代文化做出反应并提出建设
也就变成了一个纯商业机构，艺术为点缀的综合
性的策略，为未来的当代美术馆建设提供诸多新
www. ea s tl i n k g a l l er y. c n
商业项目。展厅变为与酒吧餐厅合成的场所，偶
的可能性。
中国上 海 莫 干 山 路5 0号6号 楼5层
然支持一些在此发生的艺术项目，但多为租赁场
* 1999年
东廊 *
李樑于1999年创立的东廊艺术是中国最早的
证大现代艺术馆举办了包括"电子园林—新媒 体艺术展"、"亚洲交通——当代艺术展"、"自我
地，做活动而已。
几家画廊之一。2000年举办的"不合作方式"，成
这些机构必须要面对的问题不是政策上的，
造局——中国新绘画展"在内的众多大型展览，在
为当年最重要的艺术机构之一，但是之后没有在
而是资金上的，也就是如何在资金方面维系其持
国内外引起广泛关注。国际艺术家工作室，为艺
这个方向继续下去，转而成为一个商业机构。
续性。如何顺应上海经济上的发展需要，建构文
术家提供良好的工作环境，吸引了来自世界各地
2008年之后的东廊开始与杭州的年轻艺术家合
化空间？如何将文化空间的价值转换成为可被利
的艺术家来上海工作交流。2006年开始，艺术馆
作，开始支持新媒体和实验艺术家。
用的资金上的资源？这个问题看起来有些矛盾，
开始有计划地收藏国内艺术家的作品，力图建立
但是这些机构的解决方法却都是在矛盾中探索。
完整的中国当代艺术收藏。
* 2000年 东大名艺术中心 *
如香格纳画廊就必须要面对经济好转时更多的开
2008-2009年间证大先后举办的5个个展项目：
www. d d m wa r eh o u s e. o r g
设空间，而经济不好时相应的关闭一些空间的现
《庄子的镇静剂》邱志杰个展、宋东个展、《人
东大名艺术中心起于2000年东大名路，之后
实。东大名要便对的不断挪移空间和不间断的来
质》汪建伟个展、《离信之雾》杨福东个展、梁
自其设计公司的资金上的补贴。外滩18的现象最
绍基个展，才真正奠定了证大多年来的希望，终
先后变换了几次主持人，由此郑为民从投资人
为明显，就是餐厅、酒吧加艺术空间的模式。商
于让证大在学术和公众方面获得了认可。2010年
开始转型为管理人。东大名路拆迁后东大名中
业的多样性和文化在资金依赖的单一性不同，其
证大转型成为艺术超市超超市，讲艺术经济、价
心迁至红坊，2007年支持由比利安娜策划的在威
构造的丰富的实践经验，也许正在指引我们未来
值、市场等命题纳入到展览展示，证大转型成为
尼斯双年展期间的《迁徙嗜好者》展，2009年新
文化商业的道路。
一个可被选择的艺术商业空间。其在叙述上的建
址支持了上海电子艺术节李振华策划的《新媒体
设将在喜马拉雅艺术中心被继承和发扬。
考古》项目。2010年红坊面临拆迁，东大名讲借 助SHIFT集装箱项目存在。东大名长期与来自杭 州、北京、上海的年轻艺术家、群体合作，除了 投资一些项目之外，还运营了国内最大的网络搜 索平台www.artlinkart.com。东大名这一上海最早的
* 民营美术馆 * 民营美术馆和国营、半国营美术馆，以及私 人机构、画廊有着不同之处，它不在政治、政策
* 2005年 MOCA * www.mocashanghai.org 上 海 黄 浦 区南京西路 231号 人民公园内
支持和管理的范围之内，受到政治政策的制约，
上海当代艺术馆(MOCA Shanghai)是由龚明光
但却可以独立的运营相对大型的艺术项目。它的
基金会出资建造，经上海市政府批准的非盈利且
资金模式来自基金会、银行或者商业集团，所以
独立运作的艺术机构。上海当代艺术馆致力推广
也不需要向画廊或商业机构一样要考虑艺术买卖
中国及全世界的当代艺术。上海当代艺术馆由具
的问题。它更像非盈利机构，但是又必须考虑公
丰富策展及行政经验的团队经营管理，旨在培养
共性和公众的认知需要。民营美术馆正在找寻一
人们对中国及世界当代艺术与设计的欣赏能力，
由翁玲女士发起，为上海最重要的商业综
个不属于任何既定系统的方向，摸索着在获得资
并不断推进上海与全世界之间的文化交流。
合项目之一，除了作为商业画廊的艺术品买卖经
金和政策支持、管理与基金制度，以及公众接受
营，沪申3号还提供了一流的展览展示空间。期间
2007、2009、2011年希望发展到亚洲《动漫
之间的道路。每个机构之间的资金来源与艺术方
美学双年展（陆蓉之策划）》，2006、2008、
如谭盾的个展，杨福东、邱志杰、汪建伟的三人
向之不同构成了上海当代文化的多样性，作为国
展，还有一些群展，包括后来和张江的艺术项目
2010《文献展（陆蓉之策划）双年》，与意大利
营机构和纯商业机构的缓冲地带，民营美术馆在
合作《意大利制造》系列展览，有在威尼斯双年
《现场张江》都将商业性和学术性推向了一个从
上海起着重要的作用。
展《中国园林》特展，古根汉姆《美国300年》展
非盈利空间除了一直支持和创造，依旧保持着最 有活力的状态。
* 2003年
沪申3号画廊 *
www.s h a n g h a i g a l l er yo f a r t. co m
未有过的高点。2006年翁玲离开，继任者因为资 金和观念上的缺乏没能继续之前沪申3号的方向，
当代部分在MOCA 展出，名称为《今日美国》，
* 2003年
证大艺术馆 *
但是其中也不乏一些可以被提及的展览，如周啸
www. z en d a i a r t. co m
虎、杜震君的双人展等。2009年沪申3号的负责人
上 海 市 芳 甸 路1 9 9弄 2 8号
再次调换，自此沪申3号再也没有什么值得称道的 展览项目了，2010年吴山专的个展在此举办，也 许是一个好的开始。
牙利馆，2010年周铁海的个人展览《甜品》，西 班牙大师高迪展，日本环保设计展等。
证大现代艺术馆是上海证大集团投资建立 的现代化艺术展览和学术交流平台。证大现代艺 术馆坐落在上海浦东证大大拇指广场，建筑面积 3000平米，展览空间1500多平米。现代化的设施
62 艺术ISSUE ISSUE No.7
2009年印度艺术展，2010印尼展，与世博合作匈
* 2008年
民生美术馆 * www
上 海 市 淮 海 西 路570号 F座 红坊艺术园区
1986年12 月 《M 群体观念艺术表演展》 艺术家合影 赵川提供 December 1986 《M g roup exhibition of conce ptual ar t perfor mance 》 Ar tist photo ，Provided by Zhao Chuan
ISSUE No.7 艺术ISSUE 63
特辑 II
FE ATU R E II
民生在2008年创建。并有过一些展览项目，
国际的交流，构建了一个远远大于商业机构的理
构，在做分类的时候尤其困难，因为其在当代艺
可以被看做是预热项目，之后确认了何聚星和
想模式，这就更加需要更多的资金上的支持。民
术上的贡献之巨大，往往掩盖在其商业上的成功
周铁海组合。2010年伴随着一系列的热身项目，
营美术馆的资金支持来自于各个方面，如银行、
之中。上海的文化现象要感谢这些机构的贡献，
2010年4月18日终于以《中国当代艺术三十年历
房地产、高科技园区、私人基金会等等。民营美
也要感谢那些曾经支持，但是后来撤出的资金的
程•绘画篇（1979-2009）》面对公众。
术馆所指向的是如何将私人、企业的资金，注入
支持，万流汇集才能有上海如此丰富多样的文化
到文化艺术建设，并逐渐将本土的文化赋予价值
现状。当然这也有因为政治的需要来自国家的政
* 2010年 上海外滩美术馆 *
的道路，其所博弈的是中国当代文化的价值系
策和资金上的扶植所导致的宽裕的大的文化环境
www. r o ck b u n d a r tmu s eu m . o r g
统，这一认定关系因为现在中国现行体制政策的
上的贡献。能够有如此多样的空间和资金来源，
现实中，一边倒的赋予了民营美术馆这一责任。
我们必须要承认，这个进步之于2000年之前还是
上海 市 黄 浦 区 虎 丘 路2 0号
巨大的。
上海外滩美术馆座落于上海黄浦江与苏州河 交汇之处的外滩源片区，是一个建立在历史文化 遗产之上，服务于当代艺术的推广与交流的国际 平台。开馆展览就是蔡国强的《农民达芬奇》项 目，首展就着眼于当代华人艺术家最高水准。馆 长为曾经台湾MOCA的馆长赖香玲女士担任。
* 2011年 喜玛拉雅美术馆 * www. h i m a l aya s a r t. cn
* 结语 *
感谢韩之演邀请我做这样的项目，在撰写这 些项目和不断的将过去所经历的碎片拼合的过程
我试图给出一个年代更迭的线索，但是后来
中，逐渐发现了一个当代艺术从年代、类型上的
发现还是需要做一些类型上的分类，这样可以便
图景，对我来说这是一个学习和再认识的过程。
于理解不同类型机构之间的关系，这里有些地方
此调查因为时间和精力上的不足，难免有些错误
比较混淆，如一个商业机构有可能支持了一个完
之处，还请读者不吝指教。我想一个这样的项目
全不盈利的项目，或是一个非盈利机构却做了商
应该是开源的，所以我作为作者并不重要，重要
业的项目。这与定位和方向无关，在中国当代艺
的是大家的参与和支持。
术发展的进程中，这样的事情举不胜举，类型上
最后要感谢为了这个调查提供信息和帮助的
正在筹建的未来的最具雄心的综合艺术项
的划分并不来自这样的偶尔的项目，而来自之后
龚明光先生、周志聪先生、周铁海先生、宋海东
目，设计由矶其新完成，沈其斌任馆长。在学术
机构发展占主要概率的方面，如东廊曾经支持了
先生、赖香玲女士、龚斯悦女士、乐大豆先生。
方向和发展上将延续之前证大所创造的辉煌。其
《不合作方式》2000年，但是其后来的方向却与
公共性和国际化的需要也将成为喜马拉雅挑战的
此无关。而像证大、东大名、MOCA等机构也时
未来。
有商业项目发生，却不能掩盖其在当代艺术中的
民营美术馆通过公共的参与、文化的传播、
64 艺术ISSUE ISSUE No.7
大力推动作用，还有像香格纳这样的纯粹商业机
* 附录 *
会、琴嘎、荣荣、宋东、宋涛、陈浩、郑继舜、
* 2 0 0 9年 上海电子艺术节《系统更新》 *
孙原、王冰、王楚禹、王兴伟、王音、乌尔善、
上海重要展览纪要 * 1 9 9 1年 车 库 艺 术 展 *
萧昱、徐坦、徐震、杨福东、杨茂源、杨振忠、
* 2 0 1 0年 上海双年展《巡回排演》 *
杨志超、杨勇、张大力、张盛泉、郑国谷、朱
www.shanghaibiennale.org/2010/content.php?nid=4
冥、朱昱
1991年12月5日 上海岳阳路教育会堂地下车库
* 2000年 上海双年展《影像生存》 *
*
策划人：宋海东
www.shanghaibiennale.org/history/new/history.
艺术家：耿建翌、倪海峰、宋海冬、张培
上海机构与空间
php?lang=2004_zh&index=1
www.ar tlinkar t.com/cn/space
力、孙良、龚建庆（已去世）、何暘、胡建平、 （周铁海、杨旭因为布展时间问题没能参加展览） * 1 9 9 6年 上 海 双 年 展 *
* 2 0 0 2年 上 海 双 年 展 《 都 市 营 造 》 * www.shanghaibiennale.org/history/new/history. php?lang=2002_zh&index=1
www.shanghaibiennale.org/history/new/history. php?lang=1996_zh&index=1 上海美术馆经文化部和上海市政府的批准， 于1996年3月18日—4月7日举办了96上海(美术)双 年展，首届双年展由上海市文化局、上海美术馆 主办。以"开放的空间"为主题，旨在突出改革开 放以来中国艺术多元并存、异彩纷呈的局面，内 容以油画这一外来艺术样式在中国的发展为重 点，包括具象、表现、抽象以及装置艺术等多种 风格，参展艺术家共29名，展出作品共160件。 * 1998年 上海双年展 * www.shanghaibiennale.org/history/new/history. php?lang=1998_zh&index=1 98上海(美术)双年展由上海美术馆、梁洁华艺 术基金会联合主办。展览于1998年10月20日-11月 20日举行，展览场地为上海美术馆、刘海粟美术 馆。 98上海(美术)双年展的主题是"融合与拓展"， 展出作品共256件。作品以近年来的水墨创作为中 心，展示具有悠久历史的水墨艺术的最新状态。
* 上海的艺术家 www.ar tlinkar t.com/cn/ar tist *
* 2 0 0 6年 -2 0 0 8年 现 场 张 江 * 现场张江"邀请了国内外40多位艺术家来张 江创作公共艺术作品，2006年"城市进行式•现场 张江"邀请了中国大陆、香港、台湾及澳门等两 岸四地26位当代最重要的城市文化和艺术的创作 者，如建筑师、公共艺术家、环境艺术设计师、 观念艺术家、数字影像及新媒体艺术家、音响设 计师、灯光设计师及城市研究学者。"2007现场 张江：诗意的停•流"邀请了多媒体艺术家安吉拉• 布洛克，建筑师马岩松，艺术家施慧、孙良等10 人。"2008现场张江"邀请了刘建华、胡项城、秦 一峰、曲丰国、金善球（韩国）等11位国内外艺 术家。 * 2 0 0 6年 上 海 双 年 展 《 超 设 计 》 * www.shanghaibiennale.org/history/2006/theme.html * 2 0 0 6年 个 展 （5月2 0日 开 幕 当 日 被 关 闭 ） * 5月20日龙华路2577号创意大院（昔日李鸿章 的枪炮局老院），当天将为一个由上海证大现代
* 1 9 9 9年 超 市 * vimeo.com/6924094（视频现场） * 200 0年 上 海 双 年 展 《 海 上• 上 海 》 * www.shanghaibiennale.org/history/new/history. php?lang=2000_zh&index=1 * 2 0 0 0年 不 合 作 方 式 * 2000年11月4日-20日 上海东廊艺术画廊
艺术馆主办，上海香格纳画廊、上海比翼艺术中 心等协办的展览揭幕，展览名曰"个展"，由来自 上海、北京、广州、成都等地的38位艺术家联合 举办。 * 2 0 0 7年 上 海 电 子 艺 术 节 《 大 众 的 智 慧 》 * * 2 0 0 7年 上 海 当 代 画 廊 博 览 会 每 年 一 次 * www.shcontemporary.info * 2 0 0 8年 上 海 电 子 艺 术 节 《 城 市 化 风 景 》 *
策展人：艾未未、冯博一 参展艺术家：艾未未、曹斐、陈羚羊、陈 劭雄、陈运泉、丁乙、冯卫东、顾德新、何岸、 何云昌、黄磊、黄岩、靳勒、李文、李志旺、梁
* 2 0 0 8年 上 海 双 年 展 《 快 城 快 客 》 * www.shanghaibiennale.org/content.php?nid=4
越、林一林、陆春生、路青、孟煌、彭禹、彭东 ISSUE No.7 艺术ISSUE 65
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上海证大喜玛拉雅中心 Zendai Himalayas Center
* Preface * Since 2000,Shanghai's private museums have played important roles as cultural drivers and catalysts. With the growth of Shanghai's museums,art spaces,and galleries,these institutions have helped to form the present geography of contemporary culture in Shanghai. Looking back,ShanghART Gallery in 1996,the Shanghai Biennale in 1996,and ddm warehouse and BizArt Art Center in 2000 all provided the possible space and experience for even larger and more professional private institutions.Educational transformation and cultural development from Hangzhou,Shanghai,Nanjing and other places provided resources for this economically developing city.Competition from Beijing also propelled growth and maturity. The exhibitions Garage Ar t(1991)and Ar t
66 艺术ISSUE ISSUE No.7
for Sale(1999),the video ar t exhibition Image-
outside Shanghai have been attracted to the city.
Phenomenon(1996)that moved from Hangzhou
In addition,artists from the surrounding area feel
to Shanghai,Demonstration of Chinese Video
contented with life in Shanghai and the cultural
Art(1997),Beijing's China/Avant-Garde(1989),and Post-
atmosphere there.Since 2000,Shanghai has become
sense Sensibility:Alien Bodies and Delusion(1999)were
a meeting point for culture like Beijing,and formed a
all extremely influential.The Shanghai Biennale(1996 to
relatively complete cultural environment.
the present),SHContemporary(2007 to the present),and
In 2010,the beginning of the World Expo allowed
eARTS(2007 to the present)are the three most
Shanghai to become a large international city,like Beijing
influential large-scale art festivals.These exhibitions
after the 2008 Olympic Games.Shanghai has slowly
are the result of the need for more cultural exhibition
built a completely new and diverse cultural ecology with
space in Shanghai.Because of its unique geographical
privately organized cultural institutions,financial support
convenience,level of economic development,and
from companies,and help from the city government.
cosmopolitan culture,Shanghai became a possible
Shanghai,a politically central city like Beijing,has rich
site for the increased development of cultural space.
experience and much creativity in business and hosting
Because of these independently organized exhibitions
collective activities.The Shanghai city government's
and the Shanghai Biennale,Shanghai's openness,and
efforts in the realm of cultural openness can be seen in
the nationalization of culture,many artists from
the large cultural programs that Shanghai has hosted.
Apart from the Shanghai Biennale,large international
latent cultural trends and the dynamic relationship
took place at the same time,but in different places.The
cultural programs such as the Shanghai International
between individuals and institutions in the cultural
Shanghai exhibition drew on the consumer space of the
Film Festival,the Shanghai TV Festival,the Shanghai
realm.
supermarket,in order to build a relationship between
Dance Festival,and the Shanghai International Arts Festival have all been presented in the city. In order to understand the development and growth of contemporary art in Shanghai,one must understand the importance that the Shanghai city government attaches to the promotion of international cultural exchange and the regional links to culture between Shanghai,Hangzhou,Nanjing,and other areas. For example,artists from the China Academy of Art in Hangzhou have made up the majority of artists in Shanghai for many years.The educational methods
exhibition and consumption.In contrast,the Post-
* Events in the Development of Contemporar y Ar t *
Sense Sensibility exhibitions in Beijing continued the
* 1991 Garage Art *
Art for Sale exhibition,Shanghai viewers'consumer
* 1996 Shanghai Biennale * * 1999 Art for Sale * * 2000 Fuck Off * * 2006 Living ZhangJiang * * 2007 Shanghai eARTS Festival * * 2007 SHContemporary *
experiments of the'85 period,persistently challenging the boundaries between viewers'nerves and art.In the impulses were triggered by Zhu Yu's The Foundations of the Entire Science of Knowledge,a work which consisted of canned brains.In retrospect,this was a sign of the future development of art in Shanghai; regardless of how rigid,challenging,and disgusting an installation or performance art,no matter how hard the
developed by Zhang Peili,Qiu Zhijie,Wu Meichun,Geng
The 1991 Garage Art exhibition can be seen
Jianyi,and others at the China Academy of Art in
as an independently organized exhibition.Curated
works are to decipher,they will all slowly be consumed
Hangzhou have led the majority of the graduates to
by Song Haidong,the artists and the curators of this
In 2000,during the Shanghai Biennale,an
select Shanghai as a starting point for their careers.
exhibition used previous exhibition methods,in which
international project under official guidance,another
Increasing numbers of Shanghainese artists have
how well someone knew an artist became the standard
project called Fuck Off developed.The exhibition was
appeared in Beijing or on the international stage.
for judging exhibitions and works.Even after a major
curated by Ai Weiwei and Feng Boyi,and held at the
For a time,Shanghainese artists represented Chinese
exhibition of Chinese modern art in 1989,Shanghai
Eastlink Gallery.Fuck Off did not fulfill the needs of
contemporary art,as artists from Hangzhou had before
in 1991 did not have any radical or outstanding
those who wanted to legitimize Chinese contemporary
them.This phenomenon can be seen as the need for
aspects.However,unique characteristics appeared in
art; the exhibition was individualized and unregistered,a
a deeper understanding of regional culture and the
the exploration of artistic media and in the art itself.
model which appeared in Shanghai.The exhibition
new cultural trends that are formed when international
For example,Zhang Peili's video art had just started
included Gu Dexin's meat installation,Sun Yuan and
culture encounters China and Chineseness.The cultural
to be shown in this exhibition; 1991 could be seen as
Peng Yu's Solitary Animal,and the works of important
concept of China is slowly being regionalized,but the
the first year of video art exhibitions.This exhibition
experimental artists such as Yun Chang,Zhu Yu,and Wu
universality of Chinese culture is also being established.
had no collective or directional purpose; individual
Ershan.Without exception,they challenged the standards
Because of these cultural requirements,Beijing is slowly
artists appeared in a loosely organized manner,in an
of exhibitions and built a lively and dynamic Chinese
being marginalized.However,from the perspective of
underground public space.
contemporary art.They existed outside international
by a growing economic metropolis.
the domestic cultural network,the largest numbers of
The 1996 Shanghai Biennale,curated by Wang
artists,galleries,institutions,and auction houses are still
Lin,did not have a clear direction.The biennale still
trends,especially reflecting the needs of a large number
in Beijing.Beijing artists are still the primary force in
primarily focused on traditional Chinese ink painting
In 2006,at Living ZhangJiang,Wang Jianwei's
biennials and triennials worldwide.
and the development of domestic fine arts,which could
multi-media opening filled the space with
of young artists in the late 1990s.
Having started with the big picture,we must
be said to have no connection to the contemporary.
perfor mances,images,and sounds.This complex
now look more carefully at the constituent parts of
However,cultural breakthroughs lead to the first
and diverse expression once again introduced new
the cultural environment,the changes in the cultural
international edition of the Shanghai Biennale in 2000.
assumptions and difficult problems for the development
environment of a city,and the associated cultural
This edition caused a sensation because it was the first
of contemporary art.From the perspective of new
trends.With professional mobility and large-scale
formal debut of the Shanghai Biennale.More than 85
media and education,Wang Jianwei's project provides
cultural exchange programs,Shanghai's advantages
artists from China and abroad participated,curated
an overall clue to the currently expanding scope of
are less hidden than those of Hangzhou and Nanjing.
by an international curatorial team.From the start,the
the new media art movement.Zhang Jiang,a high-tech
However,Shanghai does indeed reflect all of Chinese
biennale established a basis for later achievements in
area in Pudong,collaborates with new media,multi-
contemporary culture's most salient aspects:rapid devel
building Shanghai as an international city.Shanghai's
media,and public programs to create a visible corporate
opment,urbanization,financial capabilities,and a port.
development and standard of living had reached a peak
cultural space.The Shanghai Gallery of Art was an
Since 2000,many privately-run museums,institutions,and
by 2008's Trans Local Motion.The increasing visitor
important partner for this program; the exhibitions
galleries have been established in Shanghai,and this has
numbers also helped the Shanghai Art Museum to find
were divided between Living ZhangJiang and Shanghai
not happened by chance.
a balance between the government's goals for both
Gallery of Art.Apart from the works shown in the
contemporary art and public education.
exhibition spaces,such as videos and installations,a large
From this review,I hope that the decade after 2000 and the development and cultural ecology of that time
Art for Sale in 1999 can be seen as the twin of
number of public works were produced.Later,due to a
can become a reference point,allowing us to discover
the Post-Sense Sensibility series of exhibitions; both
lack of financing and creativity,the Living ZhangJiang
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project stalled.In 2006,the Living ZhangJiang project
cultural atmosphere,but unfortunately this opportunity
important art institutions in China and possibly Asia.
and the Z-Art Center were joined together,with Li Xu
was not used to the city's advantage.Because of the
It could be said that its prestige has already surpassed
as director.
safety and management needs of the Expo,apart from
that of the China Museum of Art.In 2000,with the
In 2007,five government institutions presented
galleries and other small-scale events,there were not any
aid of the momentum from the biennale,the museum
the Shanghai eARTS Festival.Collaborating with the
large-scale art or cultural programs to attract attention
took the initiative to enter a system of curators and
Ars Eletronica Festival in Linz,Austria,every edition is
during the World Expo.This makes the future cultural
international curatorial organizations.This was the first
a large-scale media art event.Apart from introducing
atmosphere hard to forecast,but perhaps 2010 will
step to opening an international path for the Shanghai
foreign media artists and their work,the festival also
Shanghai's cultural turning point.
Art Museum.Because of the biennales after 2000,the
hosts specialized programs for the citizens and students of Shanghai.The Shanghai eARTS Festival was the first to bring media art and contemporary living concepts into daily life and public space.Every year more than 50,000 people attend this event.The Shanghai eARTS Festival follows international exchanges and has firmly established a place for the development of media art in China.In 2009,the festival was reduced to just three programs due to funding concerns.As a result,the 2009 edition was much smaller in scale than the previous two editions. T hat same year,SHContemporar y was also established.T his prog ram had significant differences from Beijing's CIGE and Art Beijing. The SHContemporary organizing body was from abroad; the organizers,including Chinese artist Zhou Tiehai,were experienced and professional expo organizers.The scale and quality of the first edition made the art fair a leader in the entire industry.Many galleries,institutions,artists,and experts from abroad gathered together,slowly creating trade links within cultural industries and gradually causing the arts to move from Beijing to Shanghai.In 2008,however,Hong Kong dealt a blow to this Shanghai art fair.Because the foreign organizers and Zhou Tiehai had left,the exhibition was weakened for a time.The academic quality dropped greatly,and the quality and number of the participating galleries dropped.When Colin Chinnery became the director of the fair in 2009,the quality of contemporary art in Shanghai recovered. However,in the end,the die had already been cast.Due to its economic,political,and geographical advantages and its professional operation,ART HK has become Asia's most important commercial art fair. Looking at the large events in Shanghai,they have all expanded the freedom and diverse funding of culture in Shanghai in different ways.The policies of the Shanghai government will also allow the city to shine
Shanghai Biennale was gradually recognized as China's
* Gover nment-Run and Gover nment-Par tnered Ar t Museums * Government-run and government-partnered art museums are different from the institutions to be discussed below.Because of the clear political and public responsibilities that they shoulder,government-run institutions primarily aim to establish a comprehensive cultural,promotional,political,financial,and managerial entity. Because of political and policy requirements,the projects that they host often receive the most media attention.Because of the large amounts of official
Shanghai Art Museum also exhibits the work of artists from China and abroad.The cultural need for stylistic difference often makes it hard to judge the institution's academic direction. Foreign critiques have noted that,despite the gradual nature of Chinese political reform,the Shanghai Art Museum,as an art institution that performs political tasks,has been unable to cast off the contradictions between political and cultural needs. The openness of the Biennale is also slowly decreasing; the 2010 biennale curatorial team will not include foreign curators.
support and assistance,these institutions provide a
* 1995 Zhu Qizhan Ar t Museum *
foundation for modern and contemporary art to slowly
580 Ouyang Road,Shanghai
enter public space and daily life.These museums can be divided into purely government-funded institutions and government-partnered institutions.The Shanghai Art Museum and Beijing's China National Museum of Fine Arts are purely government-funded institutions. Guided by political considerations and aided by the development of art,the museums generally subsist by renting space.Of course,the agendas of the post-2000 Shanghai Biennale or the post-2005 China National Museum of Fine Arts are primarily guided by artistic concerns.However,from the number exhibitions annually and their content,it is hard to see them as pure,academic museums. A few art museums that are partially supported and managed by the government have a certain degree of freedom,but because they are a part of a government organization,their degree of freedom with regard to content is limited.
* 1956 Shanghai Museum of Ar t *
The Zhu Qizhan Art Museum is a public art museum founded in 1995 and named for the famous contemporary Chinese painting and calligraphy master Zhu Qizhan.It is a specialized institution that collects,exhibits,and researches Zhu Qizhan's painting and calligraphy.The museum is also an important channel for exchange between Chinese and foreign artists and it performs the functions of a small or medium-sized art museum.In about 2004,Gu Zhenqing's involvement lead the art museum in a contemporary direction.Because Gu Zhenqing left,this institution did not show contemporary art for long. However,as a former venue for the exhibition of contemporary art,we can easily discover that this change was not the curators'one-sided quest,it was also necessary for the operation and development of the art institution.The issue is the suddenness of the transformation,and the speed of the reversal.
www.shanghaibiennale.com
* 2003 Shanghai Duolun Museum
325 Nanjing West Road, Shanghai
of Moder n Ar t *
in a new cultural spring.However,we must see through
The Shanghai Art Museum was established in
the instability brought about by excessive funding and
1956,and in 1986 it was rebuilt in its original location.In
favorable policies.The 2010 World Expo presented a
1996 and 1998,the museum hosted an art biennale.After
great opportunity to increase the vitality of Shanghai's
2000,the Shanghai Art Museum became one of the most
68 艺术ISSUE ISSUE No.7
only world-class biennale.Apart from the biennale,the
www.duolunmoma.org 27 Duolun Road,Shanghai Shanghai Duolun Museum of Modern Art was established by the Hongkou District Cultural
Department.The museum was built to be modern and
exhibitions with market acceptance.After Duolun had
Z-art Center was funded and built by the Shanghai
multi-functional; it is both a non-profit institution for
held several important exhibitions,the museum became
Pudong Zhangjiang Functional District Administrative
art and culture that would serve and develop Chinese
slowly self-marginalizing because Gu Zhenqing and
Committee and the Shanghai Zhangjiang High
contemporary art and a platform for international
Shen Qibin left. Due to a lack of good management
Technology Park Management Council.These two
exchange in contemporary art.
and administrative rigor,few people attended Duolun's
organizations commissioned the Shanghai Zhangjiang
At the start,the involvement of Shen Qibin and
2009 In the 1980s archive exhibition.The exhibition
Culture & Art Co.,Ltd to manage this public institution
Gu Zhenqing allowed this institution to show off
also suffered from a lack of funding,which in turn
for art and culture,which was completed in December
Shanghai's unprecedented vitality and magnificence.
caused the unrefined layout of the exhibition.
24,2006.This art institution has never had a clear
A large number of young artists have gathered
program that demonstrated an academic direction.
there; in addition,there have been exhibitions that
* 2006 Z-ar t Center *
Because the center is g over nment-funded,this
have transcended the average Shanghai Art Museum
419 Zuchongzhi Road,Shanghai
institution does not have the characteristics of a
exhibitions.Because of funding limitations,this institution has always found it difficult to balance its
museum or a non-profit space,apart from the Living ZhangJiang program(2006-2008); it is closer to a private
上海当代艺术馆 MOCA Shanghai
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外滩美术馆 Rockbund Ar t Museum
cultural center or a gallery.
in funding and policy.If their funding structures
place,entirely government-run museums comply
change as a result of a government policy that opens
with government policy because they are completely
Apart from the previously discussed political
museums,government-run museums must respond
financially dependent on the government to complete
limitations caused by government management
to this policy change and make preparations for
large exhibitions,maintain their space,and pay their
and the thematic constraints directly caused by
completely free admission.In turn,the government
employees.Gover nment-par tnered institutions
those limitations,government-run and government-
will prepare to give these museums a corresponding
find it difficult to obtain funds directly from the
partnered institutions all face the problems of changes
subsidy.When these kinds of changes are put in
government.So,following the implementation the
70 艺术ISSUE ISSUE No.7
free museum admission,financial pressure would
Zhen,and Yang Zhenzhong are the gallery's important
increase.Their predicament arises from the fact that,if
representative figures.Apart from the foundational
admission is completely free,their ticket revenues
sales relationships,ShanghART also participates in the
would disappear.To keep their place in the ranks
production of many artists'projects and exhibitions,a
of art institutions,government-partnered museums
portion of which become a part of ShanghART
must then consider the problem of future sources of
gallery.The majority of these artists have appeared in
revenue.These museums must find a way to comply
international and Chinese museum exhibitions.
with government policy and get appropriate funding. This government funding also implies the arrival of
* 1998 BizAr t Ar t Center *
government programs.The predicament is,thus,how to
www.biyiart.com
find a balance between academic and political needs.
* Private Institutions and Galleries * Private institutions and galleries in Shanghai have risen and fallen.Apart from ShanghART and ddm warehouse,very few have achieved longevity.From these we can see to some extent the commercial demands of the capitalist market and urban development on art after 2000.We can also judge the moderation of the Shanghai art market from 2006 to 2008,which was an excellent period for the overall art market.In Shanghai,the rise in the economy did not cause a rise in art,and so the economic downturn did not cause artistic decline.Commercial institutions in Shanghai adhere to the laws of business; they silently and naturally grow or they die out.The earliest commercial institutions and non-profit spaces still use diverse and idealistic methods to survive.Of course,these two institutions also have the largest resources in terms artists and creation. The duration and determination of these institutions have shown that the financial foundations of private institutions and galleries can sustain the reality of sustainable development.
Founded by Davide Quadrio in 1998,BizArt has
Road,Shanghai Eastlink Gallery,founded by Li Liang in 1999,is one of China's earliest galleries.In 2000,Eastlink hosted the Fuck Off exhibition,and became one of the most important art institutions that year,but the gallery since changed direction and became a commercial institution. Since 2008,Eastlink has collaborated with young artists from Hangzhou,and started to support experimental and new media artists.
* 2000 ddm warehouse *
always tried different methods to support,encourage,and develop art,working hard to create a good environment for art.Whether collaborating with artists or art institutions,BizArt has always been devoted to unearthing fringe and avant-garde artistic thoughts and ideas.BizArt provides a stage for these ideas,so that different ideas and independent ways of thinking can interact,fusing together and influencing one another. BizArt Art Center is an independently operated nonprofit art center,including both artistic and commercial sides.The purpose of the center is to promote the development of contemporary art in Shanghai and other places.Like its English name "BizArt" suggests,the structure of the center includes both artistic and commercial aspects. Thus,the name truly represents the center's mode of survival.Because BizArt is non-profit,it also is influenced by the special environment of Chinese domestic art funding,which means that BizArt certainly must rely on its own lively commercial operations to sur vive.China does not have independent art organizations such as public foundations for support,so profits from the center's commercial endeavors are used
www.ddmwarehouse.org ddm warehouse was founded in 2000 on Dong Daming Road.Later,after a series of directors,and as a result,Zheng Weimin became manager instead of just an investor.After Dong Daming Road was demolished,ddm moved to Red Town.In 2007,ddm supported the Venice Biennale exhibition Migration Addicts,curated by Biljana Ciric.In 2009,the newlyrelocated ddm suppor ted par t of the eARTS Festival,called New Media Archaeology and curated by Li Zhenhua.In 2010,Red Town faces demolition,and ddm is considering continuing in the SHIFT shipping container.ddm has had long-term collaborations with young artists and groups from Hangzhou,Beijing,and Shanghai.In addition to investing in some projects,ddm also operates China's largest web search platform,www. artlinkart.com.As Shanghai's earliest non-profit space,ddm has always supported,created,and maintained its vitality.
* 2003 Shanghai Galler y of Ar t * www.shanghaigalleryofart.com
for art events that ensure the center's path through the
Founded by Weng Ling,the Shanghai Gallery
Chinese and international art world.In 2000,Quadrio
of Art is one of the most important comprehensive
and Katelijn Verstraete looked for a long-term space
commercial projects in Shanghai.In addition the art
for BizArt.That year,Xu Zhen became the director
sales side of a commercial gallery,the Shanghai Gallery
In 1996,ShanghART had its first exhibition in a
of BizArt Art Center.In 2002,Verstraete,one of the
of Art also provides first-rate exhibition space.Since
hotel hallway.Since then,the ShanghART main building
founders of BizArt,left the center.In 2003,the center
2003,the space has hosted a Tan Dun solo exhibition,a
and H Space have been housed in two converted
moved to No.50 Mogan Shan.In 2007,Quadrio left
group exhibition by Yang Fudong,Qiu Zhijie,and Wang
warehouses in Shanghai's No.50 Mogan Shan Road
BizArt Art Center to found Arthub Asia with Defne
Jianwei,and a series of other group exhibitions,including
Art Center.Since 2008,ShanghART has had a space in
Ayas; he is currently based in Thailand. In 2009,he
t h e L iv i n g Z h a n g J i a n g p r o g r a m . A l l o f t h e s e
Beijing,called ShanghART Beijing.
established Far East Far West,a company which
exhibitions have propelled the gallery,commercially and
supports new art projects.
academically,to unprecedented heights.In 2006,Weng
* 1996 ShanghART Galler y * www.shanghartgallery.com
ShanghART has always been Shanghai's most
Ling left the Shanghai Gallery of Art.Because of
influential commercial art institution.Since Lorenz Helbing and Zhou Yuwen started the institution,the
* 1999 Eastlink Galler y *
gallery has represented all of the most outstanding
www.eastlinkgallery.cn
artists from Shanghai and Hangzhou.Yang Fudong,Xu
5th Floor,Building 6,No.50 Mogan Shan
financial and conceptual shortcomings,her successors could not continue in the gallery's previous direction. However,in the midst of these changes,there were a few exhibitions worth mentioning,including the Zhou ISSUE No.7 č‰şćœŻISSUE 71
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Xiaohu and Du Zhenjun exhibition.In 2009,the director of the gallery changed again,and as a result,there were no exhibitions of note at the time.In 2010,the Shanghai Gallery of Art hosted the Wu Shanzhuan solo exhibition,which will perhaps be a good start to a new future.
* 2004 Bund 18 * www.bund18.com Bund 18,founded in 2004,came about by mimicking the success of the Shanghai Gallery of Art.In addition to the 2005 Vivienne Westwood exhibition,important exhibitions included DROOG Design,curated by Davide Quadrio,and an Olivo Barbieri photography exhibition.Later,because of internal adjustments,Victoria Lu and Davide Quadrio left their consulting positions.In 2007,Bund 18 became a purely commercial institution,presenting comprehensive commercial projects with art as decoration.The exhibition halls became a combination of restaurant and bar.Occasionally,Bund 18 supports the few art projects held there,but it is most often a place to be rented for events. The problems that these institutions must face are not political ones,but financial ones.How do these institutions maintain financial sustainability? How do they conform to the developmental needs of Shanghai's economy and build cultural space? How can cultural space be transformed into usable financial resource? These questions seem contradictory,but the ways in which these institutions solve these problems can be found among these contradictions.An institution should open more spaces when the economy is good,and be ready to face having to close some of those spaces when the economy declines,like ShanghART has. ddm often moves spaces and pulls financial strength from its design firm.The Bund 18 model is the most obvious way to manage these problems,because it is a restaurant and bar with an art space.The difference between commercial diversity and the reliance of culture on funding creates a rich variety of practical experience,which perhaps will guide our future cultural and commercial path.
* Pr ivate Ar t Museums * Many aspects of private museums set them apart from state-run or partially state-run museums and private institutions and galleries.They are not restricted by government policies in the areas of 72 艺术ISSUE ISSUE No.7
1986年《创造行动》現场 赵川提供 1986《Creating Action 》
Provided by Zhao Chuan
government and policy support and management.
environment,brings artists from all over the world
However,these museums can independently operate
to Shanghai for work and exchange.Since 2006,the
relatively large art programs.Their funding comes
museum has executed a collection plan for Chinese
from foundations,banks,or commercial entities,so
artists'works,in an attempt to build a complete
they do not have to consider arts sales,as galleries or
collection of Chinese contemporary art.
commercial institutions do.They are more like non-
From 2008 to 2009,Zendai hosted five solo
profit institutions,but they must also consider the public
shows,including the Ataraxic of Zhuang Zi Qiu
and its needs.Private museums seek a direction outside
Zhijie solo exhibition,a Song Dong solo exhibition,the
any established system; they try to find a path among
Hostage Wang Jianwei solo exhibition,the Dawn
acquiring funding and political support,management
Mist,Separation Faith Yang Fudong solo exhibition,and
and funding systems,and public acceptance.The
a Liang Shaoji solo exhibition.T hrough these
differences between each institution in terms of funding
exhibitions,Zendai achieved its long-held goal; Zendai
sources and artistic direction constitute the diversity of
had gained the approval of the public and the academic
Shanghai's contemporary culture.Private museums form
community.In 2010,the Zendai Museum of Modern
a buffer zone between state-run and purely commercial
Art became the Zendai Art S-Supermarket,bringing
institutions,so they play an important role in Shanghai.
issues of the art economy,value,and the art market into exhibitions.Thus,Zendai became an alternative
* 2003 Zendai Museum of Moder n
commercial art space.The direction described above
Ar t *
will be inherited and developed by the Himalayas Art
www.zendaiart.com
Museum.
No.28,Lane 199,Fangdian Road,Shanghai
* 2005 MoCA Shanghai *
T he Zendai Museum of Moder n Ar t is a
www.mocashanghai.org
platform for academic exchange and modern art
People's Park,No.231 Nanjing West
exhibitions,established and funded by the Shanghai Zendai Group.The Zendai Museum of Modern Art is located in the Zendai Thumb Plaza in Pudong.Covering more than 3,000 square meters,the museum contains more than 1,500 square meters of exhibition space.Due to modern facilities and academic ideas,the museum has become a new international contemporary art platform. The museum collects the work of top artists from China and abroad,including such masterpieces of as Thumb by French artist César and LOVE by famous American sculptor Robert Indiana.The museum has programs for exhibitions,research,collection,academic exchange,and studios for international artists.The Zendai Museum of Modern Art is a distinctive response to contemporary culture in that it has contributed constructive strategies. The museum provides numerous new possibilities for the construction of future contemporary art museums. T he Zendai Museum of Moder n Ar t has hosted numerous large-scale exhibitions,including Electroscape:International New Media Art Exhibition,Asian Traffic:International Contemporary Art Exhibition,and The Self-Made Generation:A Retrospective of New Chinese Painting.All of these exhibitions received much attention both in China and abroad.The International Artist-in-Residence Program,which provides artists with a good working
Road,Huangpu District,Shanghai The Museum of
Contemporary
Art Shanghai(MoCA Shanghai)is a nonprofit,independently-operated contemporary art institution in Shanghai.Endorsed by the Shanghai Municipal Government and funded by the Samuel Kung Foundation,MOCA Shanghai is devoted to the promotion of Chinese and international contemporary art.Managed by a team of local and international professionals with extensive curatorial and administrative experience,MoCA Shanghai aims to encourage the appreciation of Chinese and international contemporary art and design.The museum also hopes to foster cultural exchange between Shanghai and the world. The MoCA Shanghai held the 2007,2009,and 2011 Asia Animamix Biennial,the 2006,2008,and 2010 Shanghai MoCA Envisage,both curated by Victoria Lu,and the Italy Made in Art,in cooperation with the Italians.The Chinese pavilion at the Venice Biennale,entitled What is to Come was also exhibited at the MoCA.The Guggenheim exhibition Art in the USA:300 Years of Innovation was renamed Art in America,Now and exhibited at the MoCA. In 2009,the MoCA exhibited contemporary Indian
ISSUE No.7 艺术ISSUE 73
特辑 II
FE ATU R E II
art.In 2010,MoCA Shanghai held a Zhou Tiehai
commercial institutions,and as a result,they need even
environment.We must admit that there have been huge
solo exhibition entitled Desserts.Later in 2010,the
more financial support.Financial support for private
increases in the diversity of spaces and sources of
museum will present contemporary Indonesian art and
museums comes from a variety of sources,such as
funding since 2000.
collaborate with the World Expo Hungarian Pavilion.
banks,real estate firms,high-tech companies,and private
Firstly,I would like to thank Han Jiyun for inviting
Past exhibitions have included the work of Spanish
foundations.Private museums indicate a way in which
me to work on this project.In the course of assembling
master Cosmos Gaudi and an exhibition of Japanese
private and commercial funds can be poured into
the pieces of the past and writing this review,I gradually
eco-designers.
the construction of culture and art and thus slowly
discovered contemporary art from the perspective of
assign value to domestic culture.These institutions
date and type.For me,this was a process of learning
* 2008 Minsheng Ar t Museum *
form strategies about the values system of Chinese
and reencountering contemporary art.Because of my
No.570 West Huaihai Road,Bldg.F,Red Town
contemporary culture.Due to the current Chinese
limited time and energy,some mistakes will be present
system and political reality,private museums have been
in this review; please do not hesitate to point them out.
overwhelmingly given the responsibility of determining
I think that a project like this should include a broad
these values relationships.
array of sources.I,as an author,am unimportant,what is
International Art Community,Shanghai The Minsheng Art Museum was established in 2008.There were a few exhibitions that could be seen as warm-up projects,after which He Juxing and Zhou Tiehai were confirmed.In 2010,this series of warm-up
important is everyone's participation and support.
* Conclusion *
projects culminated in the Three Decades of Chinese
At first,I attempted to find an alternate narrative
Contemporary Art:Painting 1979-2009 exhibition; it
for this past decade,but I discovered that it is still
was presented to the public on April 18,2010.
necessary to categorize these institutions by type so that we may better understand the relationships
* 2010 Rockbund Ar t Museum *
between different types of institutions.However,there
www.rockbundartmuseum.org
are still institutions that are hard to categorize,such as
20 Huqiu Road,Huangpu District,Shanghai
commercial institutions that also support completely non-profit projects,or non-profit institutions that
The Rockbund Ar t Museum is located on
support commercial programs.However,these projects
the Bund,at the intersection of the Huangpu and
have little to do with the overall direction of the
Suzhou Rivers.The museum,built on a foundation
institution,as these kinds of apparent contradictions
of historical and cultural heritage,has established an
in the course of the development of Chinese
international platform for contemporary art promotion
contemporary art are too numerous to mention.So,the
and exchange.The museum's first exhibition was Cai
differentiations between these categories are not the
Guoqiang's Peasant Da Vincis.This first exhibition
result of these kinds of occasional programs,but rather
focused attention to the highest-caliber contemporary
from the likely direction of the future development of
Chinese artists.The current director of the Rockbund
the institution.For example,Eastlink Gallery supported
Art Museum is Lai Xiangling,the former director of the
Fuck Off in 2000,but these kinds of projects had little
Museum of Contemporary Art Taipei.
to do with the gallery's later development.Institutions like Zendai,ddm,and MoCA Shanghai will occasionally
* 2011 Himalayas Ar t Museum * www.himalayasart.cn This highly ambitious,comprehensive art project is currently under construction.The building was designed by Ji Qixin and Shen Qibin will be the director of the museum.In academic direction and future development,the museum will continue along the brilliant path that the Zendai had created.Zendai's public and international needs have become the challenging future of the Himalayas Art Museum. Through public participation,cultural circulation,and international exchange,private museums have built an ideal model that is far larger than 74 艺术ISSUE ISSUE No.7
host commercial programs,but this does not obscure their roles as vigorous promoters of contemporary art.In addition,purely commercial institutions like ShanghART are especially hard to categorize because its significant contribution to contemporary art is often hidden amidst its commercial success.Culture in Shanghai is indebted to the contributions of all of these institutions.Shanghai is also indebted to the once generous financial support that has since disappeared. It is only because these many streams of financing converged that Shanghai could have had such a rich and diverse cultural landscape.Of course,the national political and financial support arising from political imperatives has also contributed to this rich cultural
Lastly,I would like to thank those who provided information and help for the completion of this review:Samuel Kung,Zhou Zhicong,Zhou Tiehai,Song Haidong,Lai Xiangling,Gong Siyue,and Davide Quadrio.
* Appendix * Notes on Important Exhibitions in Shanghai
* 2000 Shanghai Biennale "Spirit of Shanghai" *
* 2006 Shanghai Biennale "Hyper Design" *
www.shanghaibiennale.org/history/new/history.
www.shanghaibiennale.org/history/2006/theme.html
php?lang=2000_zh&index=1 * 2006 Solo Exhibition *
* 1991 Art Garage Exhibition *
* 2000 Fuck Off Exhibition *
December 5,1991
November 4,2000 – November 20,2000
Underground Parking Garage of the Shanghai
Eastlink Gallery
Education Hall,Yueyang Road,Shanghai
Curators:Ai Weiwei,Feng Boyi
Curator:Song Haidong
(Opened on May 20th,but was closed the same day) On May 20,the Zendai Museum of Modern Ar t,ShanghART,and BizAr t Ar t Center jointly organized the exhibition at the No.2577 Longhua Road
Participating Artists:Ai Weiwei,Cao Fei,Chen
Creative Garden,which was formerly the Jiangnan
Artists:Geng Jianyi,Ni Haifeng,Song
Lingyang,Chen Shaoxiong,Chen Yunquan,Ding Yi,Feng
Firearms Factory established by Li Hongzhang.The
Haidong,Zhang Peili,Sun Liang,Gong
Weidong,Gu Dexin,He An,He Yunchang,Huang
exhibition,entitled Solo Exhibition,showcased the work
Jianqing(posthumous),He Yang,Hu Jianping(Zhou
Lei,Huang Yan,Jin Lei,Li Wen,Li Zhiwang,Liang
of thirty-eight artists from Shanghai,Beijing,Guangzho
Tiehai and Yang Xu were unable to participate due to
Yu e , L i n Y i l i n , L u C h u n s h e n g , L u Q i n g , M e n g
u,and Chengdu.
installation problems)
Huang,Peng Yu,Peng Donghui,Sun Yuan,Wang Bing,Wang Chuyu,Wang Xingwei,Wang Yin,Wu
* 2007 Shanghai eARTS Festival "Wisdom of
* 1996 Shanghai Biennale *
Ershan,Xiao Yu,Xu Tan,Xu Zhen,Yang Fudong,Yang
Crowds" *
www.shanghaibiennale.org/history/new/history.
Maoyuan,Yang Zhenzhong,Yang Zhichao,Yang
php?lang=1996_zh&index=1 Under the authority of the Chinese Ministry of Culture and the Municipal Administration of Shanghai,the Shanghai Art Museum organized the 1996 Shanghai Biennale from March 18 to April 7,1996. The first edition was organized by Shanghai Municipal Cultural Department and Shanghai Art Museum.With
Yong,Zhang Dali,Zhang Shengquan,Zhang Guogu,Zhu Ming,Zhu Yu
* 2007 SHContemporary(Annual) * www.shcontemporary.info
* 2002 Shanghai Biennale"Urban Creation" * www.shanghaibiennale.org/history/new/history. php?lang=2002_zh&index=1
* 2008 Shanghai eARTS Festival "Urbanized Landscape" * * 2008 Shanghai Biennale "Trans Local Motion" *
"Open Space" as the theme,the Shanghai Biennale
* 2004 Shanghai Biennale"Techniques of the
aimed to show the diversity that had developed in
Visible" *
Chinese art since Reform and Opening.The exhibition
www.shanghaibiennale.org/history/new/history.
* 2009 Shanghai eARTS Festival "System
php?lang=2004_zh&index=1
Updating" *
* 2006-2008 Living ZhangJiang *
* 2008 Shanghai Biennale "Rehearsal" *
featured the development of art forms other than oil painting in China,including installations and figural,expr essionist,and abstract styles.160 works by 29 artists were exhibited.
Living ZhangJiang invited more than forty artists * 1998 Shanghai Biennale *
www.shanghaibiennale.org/history/new/history. php?lang=1998_zh&index=1
www.shanghaibiennale.org/content.php?nid=4
www.shanghaibiennale.org/2010/content.php?nid=4
from China and abroad to create public artworks at Z-art Center.In 2006,twenty-six creators of the most important contemporary urban art and culture
*
from mainland China,Hong Kong,Taiwan,and Macau
Shanghai Institutions and Spaces
The 1998 Shanghai Biennale was jointly organized
were invited to participate in City in Progress:Living
www.artlinkart.com/cn/space
by the Shanghai Art Museum and the Annie Wong
Zhangjiang.Architects,public artists,designers of
*
Art Foundation.The exhibition,held in the Shanghai
environmental art,conceptual artists,digital and new
Shanghai Artists:http
Museum of Art and the Liu Haisu Museum,lasted from
media artists,sound designers,lighting designers,and
www.artlinkart.com/cn/artist
October 20,1998 to November 20,1998.The theme
scholars of the urban environment were all invited to
*
of the 1998 Shanghai Biennale was"Inheritance and
participate. Multimedia artist Angela Bulloch,architect
Exploration" A total of 256 works were exhibited.The
Ma Yansong,artists Shi Hui and Sun Liang,and ten
majority were recent ink paintings,showing the latest
others were Invited to participate in 2007 Living
evolutions in the long history of ink paintings.
ZhangJiang:Poetic Staying and Moving.In 2008,Liu Jianhua,Hu Xiangcheng,Qin Yifeng,Qu Fengguo,Kim
* 1999 Art for Sale Exhibition * vimeo.com/6924094(Video of the exhibition)
Seon-Gu(Korea),and eleven others participated in 2008 Living ZhangJiang.
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