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霍普肖像：社會，工作室，街頭Hoppé Portraits: Society, Studio and Street

倫敦街頭攝影展London Street Photography

英國現代雕塑Modern British Sculpture

倫敦設計博物館：時裝插畫展Design Museum: DRAWING FASHION

倫敦ROUGH TRADE 唱片店London ROUGH TRADE Record Shop

史上最佳英國電影The Top Five Greatest British Movies Ever Made

點擊你的時尚之旅‘Click’ Your Fashion Experience

時裝的錯覺Fashion that deceives

20｜21 國際藝術博覽會－國際化的多樣性20 | 21 International Art Fair: Cosmopolitan Diversity

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《逃逸線》藝術展A Line of Flight

幻境制造者－菲利普·帕雷諾Fantasy Maker － Philippe Parreno

抉擇在生死之間 Between Life and Death

D&Ad 專欄 / 支柱－構建你的流程Pillars － Structuring of your Flow

广告：最有趣的事Advertising: The Most Fun You Can Have

HOT TOPIC

EXCLUSIVE COLUMN

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050泰特現代美術館－人人為我 我為人人Tate Modern: All for One and One for All

巴比肯藝術中心－海納百川 有容乃大Barbican Art Centre － Bringing All Kinds of Art Forms under the One Roof

南岸之星－海沃德畫廊The Star of the Southbank

英國國家藝廊：公眾的美術館National Gallery: Gallery For All Public

開創為本－白教堂美術館The Whitechapel Gallery

象牙塔尖－英國皇家藝術學院Royal Academy of Arts

九曲湖畔的明珠－蛇形畫廊Serpentine Gallery: The Pearl beside the Lake

SPECIALFEATURE

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EDITORIAL INFO

Publisher / Editor-in-chief 出版人 / 主編 Harry Liu 劉競晨

Senior Editor 高級編輯Gareth Rees, Justas Karciauskas, Ya Gao, Rui Han 韓瑞,

Mei Li 李梅, Fan Zhang 張凡, Jingwei Zhang 張靖威, Kunfang Zhao 趙坤芳

Tuanslator 翻譯Yan Chen 陳言, Shoran Jiang 姜嘯然, Gwen Liao 廖偉苔, Siqi Lin 林嗣琦, Chang Yu 于暢

Design Director 設計總監Ye Li 李燁, Xianghui Ye 葉向輝

Graphic Design 平面設計Xiaodan Gao 高小丹, Joe Shi 石約瑟, Nan Wu 武楠, Qian Xu 徐茜, Lu Zhang 張璐

Marketing Director 市場總監Ying He 何穎

Contributors 鳴謝Anders, Anthony banks, Ellen, Jas, Katie Hill, Margarita Moner Lopez, Sajid Rizvi,

Guocheng Chen 陳國成, Yixin Chen 陳意心, Yu Chen 陳郁, Mengdan Cheng 程夢丹, Junxia Cui 崔君霞, Ning Duo 多寧, Peiyuan Jiang 姜培源, Dian Jin 金甸,

Jing Gao 高靜, Xiaohui Guo 郭小輝, Ying Li 李瑩, Bingqing Li 李冰清, Gwen Liao 廖偉苔, Eva Xie 謝丹, Jing Wang 王靜, Ke Xu 徐可, Xinyuan Xu 許心願, Bing Yan 嚴冰,

Shiyang Yang 楊時陽, Jingyi Yu 於靜儀, Bingbing Zhao 趙冰冰, Yuling Zhong 鐘玉玲

Co-operators 合作夥伴D&Ad, Today Art Museum Beijing 北京今日美術館，Soho.com/Arts 搜狐藝術頻道，

Art China 新浪收藏頻道，Oriental Art Master《東方藝術 大家》， Art Value 《藝術當代》雜誌，

Address 雜誌社地址37 Camden High street, nw1 7je, London, UK

Website: www.artgap.org Email: info@artgap.org

Artgap Magazine

ISSUE 03 2012 ISSN 7889-2357

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EDITOR’S LETTER

主編寄語

Since the end of 1990s, the continuous growing of the China market and social wealth has brought enjoyment in not only basic material but also spiritual consumption. Along with the continuous rise of Chinese contemporary art prices, the construction of art museums and galleries in big cities is surging ahead. Government, enterprise and individual invest in art museums, which marks that contemporary art has been accepted in a wider range. Many of these art museums are magnificent and huge investment is involved. The facilities have been reached or exceeded the world-class level. These art museums provide Chinese art lovers enjoyable places to appreciate art and have become a cultural landmark in its city.

However, in these art museum, a so-called fashionable stuff, behind their world-class facilities, it is not difficult to find that the collections, researches, education and other social functions are not perfect in these art museums and the atmosphere and independent characteristic has not been formed yet.

In contrast, because of the long-term development and the concept of heritage, the system of art museums in the UK has already been a huge organism with perfect practices and rules. In London, as an example, different art museums have their different market position and various academic targets. By the protection of the management of various regulations, there are also multiple ways of funding to improve the public educational function of collection, researches, promotion the spirits of arts and to convey artistic concepts.

In this issue, we carefully selected representative art museums and galleries from both China and the UK, presented their different characteristics. Hopefully, these could open your mind, additionally, to contribute to art museums and galleries in China and explore the future of their operation and development.

Harry Liu 劉競晨

从二十世紀九十年代末期，随着中国市場的不断开放和社會財富的不断增長，民众在享受物質丰富的同時也激增了對精神消費的巨大需求。伴随着中国当代藝術品价格的持續走高，近十数年来中国各大城市的美術館建設突飛猛進，由政府，企業，个人投資兴建的美術館拔地而起，標志着当代藝術已經被越来越多的中国受众所接受。在這些美術館中，很多都是氣勢磅礴，投資巨大，其硬件水准已达到或者超過了世界一流水平，不僅為中国的藝術愛好者提供了優良的藝術享受空間，而且很多都已經成為了所在城市的文化地標。

但在美術館這个“時髦玩意儿”的背后，撥开超一流硬件的外皮后，不難發現，這些美術館所承載的收藏，研究，教育等社会功能還不健全，應具備的人文氛圍和独立个性還未成型。

對比英国的美術館来看，由于長時間的發展和理念繼承，美術館体系已經成為一个具有完善操作規範和行為準則的龐大有机体，以倫敦為例，各个美術館有其不同的市場定位和學術目的，在国家各項法規的管理下，通過多重的資助方式来完善从收藏，研究到推广藝術精神，傳播藝術理念的公共教育功能。

在這期雜志中，我們精心為各位看官挑選出比較有代表特色的中国和英国两地美術館，為大家介紹他們的不同特色，希望能起到拋磚引玉的作用，為蒸蒸日上的中国美術館事業添磚加瓦的同時，也要不断探求美術館運營和發展的未来之路。

HOT TOPIC

Hoppé Portraits: Society, Studio and Street霍普肖像：社會，工作室，街頭 WRITTEN 撰文 x HARRY 劉競晨

BY COURTESY OF 圖片提供 x NATIONAL PORTRAIT GALLERY 倫敦肖像画廊

Ezra Pound, 1918Ⓒ 2011 Curatorial Assistance, Inc. / E.O. Hoppé Estate Collection

Margot Fonteyn, 1935Ⓒ 2011 Curatorial Assistance, Inc. / E.O. Hoppé Estate Collection

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The missing link in British photography between Frederick Evans and those contrasting moderns, Bill Brandt and Cecil Beaton （Mark Haworth-Booth, 2006）

E.O. Hoppé is one of the most important photographers of the first half of the twentieth century. Celebrated during his lifetime, much of Hoppés work has only recently been reassembled and this major survey will enable visitors to discover a forgotten master.

Featuring 150 works, the exhibition includes Hoppés strikingly modernist portraits of society figures and important personalities from the worlds of literature, politics and the arts, including George Bernard Shaw, Margot Fonteyn, Albert Einstein, Vita Sackville-West and members of the royal family.

These studio portraits will be shown alongside his fascinating photojournalist studies of everyday British people ranging from street musicians and circus performers to bus drivers and postmen, which capture the realities of day-to-day life between the wars.

目前在英國國家肖像畫廊展出的霍普肖像作品展覽吸引了眾多的攝影愛好者。霍普（E.O. Hoppé）是20世紀前頁最為重要的攝影藝術家，但是他大部分作品是在最近才被重新發掘並梳理，讓更多的觀眾能夠認識這位被遺忘的攝影大師。

此次展覽收錄了霍普150張肖像攝影作品，表現了其引人註目的現代主義風格肖像，其作品涉及的人物範疇相當廣泛，包括了從文學，政治，藝術世界中的重要人物，如包括喬治蕭伯納（George Bernard Shaw），瑪戈芳婷（Margot Fonteyn），愛因斯坦（Albert Einstein），維塔薩克維爾西（Vita Sackville-West）和王室成員的重要人物。

另外，展覽中也展出了他那些迷人的紀實攝影作品，記述了倫敦普通大眾人民，從街頭流浪音樂家，馬戲團表演者，公車司機到郵遞員的真實的日常生活。

The ‘Pearlies’, Master William Dennis Simmons, London, 1922Ⓒ 2011 Curatorial Assistance, Inc. / E.O. Hoppé Estate Collection

霍普：能讓照相機唱歌的人

霍普（1878-1972）是20世紀最為有影響力的攝影師之一。憑借其對於表達人物內

心和神態的獨特能力，他成為了當時最被推崇的肖像攝影師，就像他鏡頭中的人物

一 樣，霍 普 也 成 為了炙 手 可 熱 的 明 星。此 次 展 出 的 很 多 作 品 都 是 第 一 次 與 公 眾 見

面，而且包括了很多非常罕見的在街頭而不是影棚內為名人拍攝的肖像作品。

E.O. Hoppé -- He may indeed claim to have made the camera sing （Westminster Gazette）

With a knack for conveying the personality of his sitters and an unflinching eye for composition, he was among the most sought-after celebrity portraitists of his day, becoming as famous as the people he photographed. This exhibition reveals previously unseen works and is the first to combine Hoppé’s extraordinary photographs of the famous with those he made outside the studio, in the street.

Tips 小貼示

HOT TOPIC

London Street Photography倫敦街頭攝影展 WRITTEN 撰文 x HARRY 劉競晨

BY COURTESY OF 圖片提供 x MUSEUM OF LONDON 倫敦博物館

Street photographs are at the heart of our understanding of London as a diverse and dynamic city. They are characterised by an element of chance - a fortunate encounter, a fleeting expression, a momentary juxtaposition, capturing an ever-changing city.

This major current exhibition at the Museum of London showcases an extraordinary collection of London street photography with over 200 candid images of everyday life in the street. From sepia-toned scenes of horse-drawn cabs taken on bulky tripod-mounted cameras to 21st century Londoners digitally ‘caught on film’, it explores how street photography has evolved from 1860 to the present day. It examines the relationship between photographers, London’s streets and the people who live on them, and reflects on the place of photography on London’s streets today as anti-terrorism and privacy laws grow ever tighter.

如果想要了解最為鮮活的倫敦生活和發展歷史，那麼你一定不要錯過當下正在倫敦博物館舉辦的倫敦街頭攝影藝術展。此次展出的作品一方面展現了攝影藝術這百年來的發展歷程，而且也生動的記述了倫敦這一世紀以來的變化，由於作品選取的都是關於倫敦街頭每日生活的即興攝影作品，展覽通過一個個定格的瞬間，一個個飛馳而過的掠影，或者是機緣巧合形成的美麗圖片為我們真實的還原了倫敦的街頭生活，描繪了一個充滿活力和文化多樣性且永遠變化之中的倫敦。

展覽匯集了57位攝影師的作品，一共有超過200張關於倫敦街頭生活的攝影作品，它們儼然構成了一部縮略版的攝影發展史，探討了攝影技術，攝影師以及倫敦人之間的微妙聯繫，更為值得關注的是此次展覽深刻地反思了倫敦當下街頭攝影技術的應用現狀--目前倫敦最為知名的街頭攝影項目應該說是無處不在的街頭監控攝像頭，這些藉以反恐怖主義旗號而林立的高科技設備和民眾對於保護個人隱私的訴求前所未有的和街頭攝影這個主題緊密的聯合在一起。

Work of Roger Mayne Ⓒ Museum of London

Off Brick Lane, Suma 2010, London Ⓒ Museum of London

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Brick Lane, E1 1978. Paul TrevorⒸ Museum of London

Oxford Street, July 1998. Richard BramⒸ Museum of London

主要參展攝影師

>保羅馬丁 (Paul Mart in) : 正直的先鋒倫敦街頭攝影藝術家，早在1890年代初期，他就開始運用偽裝成

箱包的照相機來捕捉倫敦街頭那些毫無察覺的人們的生活。

>羅杰梅恩 (Roger Mayne) : 他用相機記錄了1960年改造以前破敗的倫敦北肯辛頓地區的生活面貌。

>約翰湯姆森（John Thomson）: 1877年開創性的發表了關於倫敦貧窮階級的調查。

>亨利格蘭特（Henry Grant）：他作為一個自由攝影記者深度關注倫敦普通人的日常生活。他的作品記

錄了1950年到1980年之間的倫敦街頭的變化。

Key London Street Photographers

>Paul Martin pioneered candid street photography in London when, in the early 1890s, he began using a camera disguised as a parcel to photograph people unawares.>Roger Mayne sought to record a way of life as he photographed a rundown area of North Kensington before it was redeveloped in the 1960s. Mayne became a familiar figure as he hung around the streets, camera at the ready.>John Thomson produced a ground-breaking survey of London’s poor with the publication of Street Life in London in 1877. >Henry Grant was a freelance photojournalist with a profound interest in the everyday lives of ordinary peoples. He photographed London’s changing streets from the 1950s to the 1980s.

Tips 小貼示

HOT TOPIC

Modern British Sculpture英國現代雕塑 WRITTEN 撰文 x HARRY 劉競晨

BY COURTESY OF 圖片提供 x ROYAL ACADEMY OF ARTS 英國皇家藝術學院

The Royal Academy of Arts presents the first exhibition for 30 years to examine British sculpture of the twentieth century. The show represents a unique view of the development of British sculpture, exploring what we mean by the terms British and sculpture by bringing the two together in a chronological series of strongly themed galleries, each making its own visual argument.

The exhibition takes a fresh approach, replacing the traditional survey with a provocative set of juxtapositions that challenges the viewer to make new connections and break the mould of old conceptions.

Key British works include: Alfred Gilbert’s Queen Victoria, Phillip King’s Genghis Khan, Jacob Epstein’s Adam, Barbara Hepworth’s Single Form, Leon Underwood’s Totem to the Artist, Henry Moore’s Festival Figure, Anthony Caro’s Early One Morning, Richard Long’s Chalk Line, Julian Opie’s W and Damien Hirst’s Let’s Eat Outdoors Today.

Through these and other works, the exhibition examines British sculpture’s dialogue within a broader international context, highlighting the ways in which Britain’s links with its Empire, continental Europe and the United States have helped shape an art that at its best is truly international in scope and significance.

The exhibition provides a view onto this period of modern British sculpture without attempting to be comprehensive or definitive in its treatment of the subject. As such, it represents a point of view about the work of the period and seeks to highlight certain ways of looking at sculpture by thinking about its relationship with the wider world.

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此次在英國皇家藝術學院展出的《英國當代雕塑展》是30年來首次針對英國當代雕塑研究的展覽。展覽從特有的角度闡述了從20世紀初至今英國雕塑的發展歷程，按照時間發展的順序梳理了英國當代雕塑的發展特色展覽突破了固有的展覽敘述模式，將作品通過並列對比的形式來展現作品之間的風格差異和內在聯系，為觀眾建立一個全新的視角去理解不同作品之間的關系。

展出中包括了很多英國當代著名雕塑家的作品如阿爾弗雷德吉爾伯特（Alfred Gilbert）的維多利亞女王（Queen Victoria）；飛利浦金（Phillip King）的成吉思汗（Genghis Khan）和亨利摩爾（Henry Moore）的節日（Festival Figure）。展覽選取的作品來自全球各地，展示了英國藝術對於全球各不同文化的關註與反饋，反映了其對國際當代藝術做出的重要貢獻。

從策展意圖上來說，此次展覽的目的是探討從更為宏觀的角度來思考藝術的發展規律。此次展覽從國際化的視野出發，重新審視了英國雕塑藝術這百年來的發展全貌，反思了英國在這百年間不斷變化的國際身份與地位對其雕塑藝術產生的相互作用。

Barbara HepworthPelagos, 1946Part-painted wood and strings, 43x46x38.5 cmTate. Presented by the artist, 1964Photo Ⓒ Tate, London 2010Ⓒ Bowness, Hepworth Estate

HOT TOPIC

Design Museum: Drawing Fashion 倫敦設計博物館：時裝插畫展 WRITTEN 撰文 x HARRY 劉競晨

BY COURTESY OF 圖片提供 x DESIGN MUSEUM 倫敦設計博物館

Timothy DaveyDrawing-FashionⒸ Design Museum

AntonioJoanne Landis Carnegie Hall StudioNew York Times Magazine, 1967Ⓒ Design Museum

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Drawing Fashion celebrates a unique collection of some of the most remarkable fashion illustrations from the 20th and 21st Centuries. These original illustrations reflect not only the spirit and style of the decades, but also evoke a sense of elegance and glamour long associated with the world of couture and high fashion. Drawings from the collections of Chanel, Dior, Comme des Garcons, Poiret, Lacroix, McQueen and Viktor & Rolf amongst others, featured in the exhibition, which charted the changing perception of fashion drawings from its origins as an advertising tool used prior to the advancements of photography, through to its establishment as a unique representation of collections which has endured through to today’s leading designers.

The exhibition showcased the creativity and skills of a unique artistic approach, celebrating the art and artists of fashion illustration whose exquisite images gave each collection an emotive and stylistic sense of direction. The drawings reflect the spirit of the time, through Art Nouveau, Art Deco, Pop Art and beyond with each era resonating with flare and style. This exhibition, guest curated by fashion historian and writer Colin McDowell, celebrates key artists at the height of their careers: Lepape at the beginning of the century, Gruau the 40s and 50s, Antonio throughout the 60s, 70s and 80s, to current artists Aurore de la Morinerie, Mats Gustafson and Francois Berthoud. Film-clips and rare magazine covers sat alongside the original illustrations, allowing the visitor to reflect on the wider social and cultural changes of the century. Films of the artists at work were displayed alongside examples and projections of the couture clothes shown in the illustrations.

This collection, regarded as one of the most exceptional collections of fashion illustration in the world, has been put together over 30 years by Joelle Chariau, one of the very few experts on fashion drawings. This was first time the collection was displayed.

此次在倫敦設計博物館展出的時裝插畫作品展收錄了近幾十年間眾多傑出的插畫作品，參展的這些插畫原稿不僅僅體現了時裝設計的靈感來源和風格變換，而且彰顯出時尚的魅力以及其優美高雅的本質。許多知名時裝品牌為此次展覽拿出了他們珍藏的設計原稿，如夏奈爾（Chanel）、迪奧（Dior）、川久保玲（Comme des Garcons）、麥克奎恩（McQueen）等品牌都在展覽中擁有專門的展示單元。

時裝插畫最初的功能是作為一種廣告手段，後來隨著時裝攝影的出現，其本來的功能已經失去了實際的存在意義，但是時裝插畫其獨特的表現形式和藝術感染力卻一直被設計師們所推崇，至今時裝插畫已經成為了時尚產業鏈中不可或缺的一個部分。

此次展覽展現了插畫藝術家們如何用獨特的創意和技巧將情感和激情註入到時裝當中去，同時也反應了不同時期的藝術風格對時裝插畫的深刻影響。展覽策展人之一，著名時裝歷史學家科林馬克道爾（Colin McDowell）將很多難得一見的歷史資料及重要藝術家的顛峰之作匯集起來，以便觀眾可以從更廣泛的社會文化變遷的視角來了解時裝插畫的變遷。

Design MuseumLondon

FrancoisLoves me Loves me Not MylaUK 2001/1Ⓒ Design Museum

HOT TOPIC

London Rough TradeRecord Shop倫敦Rough Trade唱片店

WRITTEN 撰文 x QIAN XU 徐茜PHOTOGRAPHY 攝影 x MEI LI 李梅

In London, music plays an important role in people’s lives, and they go to gigs, or spend their time in record shops. Here, there are two kinds of recodes shops: one is the chain store such as HMV; the others are small local record shops and some second-hand music shops. ROUGHT TRADE is an independent record shop based in London, and is well loved by many Londoners. ROUGHT TRADE has two shops: one is on Brick Lane; another is in Notting Hill. Everyday, millions of music fans enjoy their whole day there, researching different records, listening to indie music. You can find many underground independent bands in the sstore, from punk to heavy metal.

英國是朋克音樂的起源地。在倫敦，音樂是人們的生活中重要的一部分，人們喜歡沒事就看看演出，逛逛唱片店。在國外唱片店一般分兩種，一種是大規模的連鎖店，像HMV等；另外一種是當地的小型唱片店以及二手唱片店。ROUGHT TRADE 就是倫敦人最喜歡的一家獨立唱片店。

ROUGHT TRADE 在倫敦有兩家店。一家在倫敦東區朋克嬉皮匯集的Brick Lane；另外一家在著名的Notting Hill附近。每天都可以看到有無數忠誠的音樂發燒友們泡在ROUGHT TRADE裏翻找著一張張唱片和CD。ROUGHT TRADE 專門出售各類型的獨立音樂，朋克、搖滾樂、hip pop或是heavy metal，甚至很多市面上罕見的獨立音樂品牌都能在這找到。

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The first ROUGHT TRADE shop was opened in 1979 in west London. Two years later, the shop spawned the famous ROUGHT TRADE Records, which was welcomed by many indie bands at that time. ROUGHT TRADE is not only a record shop, but also promotes punk music, as well as many indie bands, such as the Smiths, The Strokes, and The Libertines.

Nowadays, many records shops face the difficulty of survival from the stress of on-line music. The shopkeeper of ROUGHT TRADE thinks that the reason of people still go to record shops is that they’re looking for a kind of experience, they spent their whole day with the records around them, lost in the music world.

“Each of our employees are huge music fans, no matter it they like electronic music or folk songs, they all love their job. They work here not for the money, but for the passion of music. What is more, they love to share their fervour with our customers.”

ROUGHT TRADE 最早是1976年在西倫敦創立的一家獨立唱片店。那時正是朋克音樂開始大受歡迎的時候，ROUGHT TRADE 開始幫一眾想要自己出唱片的小樂隊發行他們的唱片。於是2年後其兩家門店催生了創記錄的獨立唱片公司Rough Trade Records，受到很多獨立音樂制作者的喜愛歡迎。ROUGHT TRADE 不僅僅是一家唱片店，它是當年朋克運動的發祥聖地，也是獨立的音樂場牌，簽藝人，出唱片。有很多有名的地下樂隊都是被他們發現的，像是The Smiths, The Strokes, The Libertines等。Suede的主唱Bertt在倫敦的家就在ROUGHT TRADE 在諾丁山分店的對面。

現在很多唱片店都面臨倒閉的危機。ROUGHT TRADE 的店主Spencer Hickman表示能通過競爭生存下來的唱片店能做得更好，他認為人們之所以光臨唱片店是為了要一種體驗，在唱片店裏他們可以呆上一整天，迷失在唱片的海洋裏。

“我的每一個員工，不管他們喜歡電子音樂還是金屬還是民謠，都十分熱愛自己的工作，他們在這裏工作並不是為了掙錢，而是出於對音樂的激情，他們希望與顧客一起分享這種激情。”

Outside view of Rough Trade record shop倫敦Rough Trade唱片

店外景

Inside view of Rough Trade record shop倫敦Rough Trade唱片

店内景

HOT TOPIC

The Top Five Greatest British Movies Ever Made史上最佳英國電影 WRITTEN 撰文 x QIAN XU 徐茜

This February <Time Out> launched a new project: “The 100 Best British Films”, which invited 150 contributors from the film industry, including director, producers, actors and journalists. They recommended 100 movies that they think are the best, and also list their top ten best British Films.

Nicolas Roeg’s Venice thriller ‘Don’t Look Now’ was most popular, rising eight places from its position in a similar poll conducted by the BFI in 1999. Interestingly, the only films post-1970 that make our top ten are Danny Boyle’s ‘Trainspotting’ and Terence Davies’s ‘Distant Voices, Still Lives’. Different people have different top 10 lists in their eyes. Let’s have a look at these best films which been chosen, do they have the same favorites as yours, and are there any movies you missed?

2011年2月，《TimeOut》倫敦版做了一個“史上最佳100部英國電影”的評選活動。邀請了包括導演、演員、制片、影評人等150名電影業內人士，選出他們認為最值得推薦的100部英國電影，同時也請每個人列出了各自心中的 Top 10名單。

英國電影一直都有自己獨特的風格魅力。有人喜歡它的黑色幽默，有人喜歡電影裏對人性的洞察，有人喜歡其情感表達的克制。每個人都有自己心中的英國電影Top 10排名，來看看這次評選出來的最佳電影裏有沒有你心中的名單或者被你錯過了的好電影？

Number 1 Don’t Look NowThe story of a couple, played by Julie Christie and Donald Sutherland, who decamp to a spooky Venice after the death by drowning of their daughter. We can speculate on the roots of its popularity: that it satisfies the genre and arthouse crowds; that it uses framing, sound, editing and camera movement to unreel a transfixing tale and flesh out excruciatingly authentic characters; that it dares to coax out the ghosts lurking in every watery passageway in Venice, Europe’s most ornate and singular city; that it contains arguably the greatest sex scene on film.

第一名 威尼斯疑魂

這部70年代的懸疑驚悚片，擁有精彩的劇情和獨特的敘事手法。點到即止的暗示讓整不電影充滿奇特的吸引力。故事發生在水城威尼斯，鏡頭下的拱橋、建築等場景都充滿了恐怖和緊張的氣氛。

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Number 2 The Third ManThis movie is a masterpiece. The genius at the core of this superlative, bible-black Euro noir is the way it teases you in to thinking that you’re watching a disposable pulp yarn about an honest schlub who touches down in a crumbling, post-war Vienna and won’t rest until he uncovers a conspiracy concerning the death of an old pal. Also, inventive and exhilarating though the story is, its beauty lies in its flawlessly judged and occasionally eccentric construction.

第二名 第三人 這部1949年的電影出現在歷往的很多次英國最佳電影評選名單中。講述男主角調查好友死亡真相的故事。除了緊湊的電影情節，電影裏最突出的還有經典的鏡頭和剪輯，以及黑白電影中對光影的完美對比運用。

HOT TOPIC

Number 3 Distant Voices, Still LivesToo often it’s assumed that there’s an arthouse cabal in British cinema obsessed solely with telling stories of the working classes from a distant perspective and with a drab realism – or, to borrow the moaners’ own word, ‘miserabilism’. Certainly, there are guilty culprits, but if any filmmaker blows such assumptions out of the water, it’s Terence Davies, whose ‘Distant Voices, Still Lives’ is arguably among the very greatest British films of the last 25 years – a judgement our poll seems to confirm.

Number 4 Kes‘Kes’ is, if nothing else, a powerfully honest piece of work, in its performances and relationships, its treatment of trapped lives, its sad-eyed acceptance of human failings. It’s trite but true to say that Billy Casper stands for the crushed child in all of us, with his beloved kestrel as the soaring soul that school, work, family and society conspire to kill quietly in the woodshed.

第三名 遠方的聲音 這是導演特倫斯·戴維斯（Terence Davies)典雅的藝術傑作，一部能體現出鮮明的英國風格的影片。劇情圍繞在二戰結束後不久， 一個利物浦的工人階級家庭的一樁婚事展開。這部電影的魅力由那些具有深刻藝術性的鏡頭構成，並結合了導演本身和演員對角色的把握，特別是精彩地演繹了父親

這一角色的皮特·波斯爾思韋特。

第四名 凱斯 這是一部非常現實的成長電影。描寫了一個英國普通小鎮的小男孩，生活在支離破碎的家庭中，偷馴幼鷹，想尋找自己自由天地的故事。這部樸實無華的電影曾獲得許多電影獎項，被公認為60年代以來最重要的英國電影，導演用簡單的故事去表現當時正處在時代變革中的英國人，普遍的迷茫和“工業孤獨”。

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Number 5 The Red ShoesThis is an intreseting old story with freshness and vigour. Revelling in unabashed emotional excess, this is a the absolute peak of Powell’s visionary tendency as a director, a flawless blend of cinema and dance, animation and music, narrative rigour and experimental freedom. Without doubt the most breathtakingly beautiful film ever to come out of these isles.

第五名 紅菱艷 這是一部源自安徒生童話《紅鞋》的老電影。女主角是愛舞如命的人，但陷入了愛情與事業的沖突。“你為什麽跳芭蕾？”女主角則反問，“你為什麽活著？”有人說最近熱門的《黑天鵝》就是向這部電影的致敬。另外，電影裏

的豐富的色彩布景也是一大看點。

HOT TOPIC

Click Your Fashion Experience點擊你的時尚之旅 WRITTEN 撰文 x XINYUAN XU 許心願

There are now bundles of ways people can buy their fashion items. In the past decade, people’s shopping patterns have shifted from visiting physical stores， to shopping online, and even through using mobile devices.

No doubt that this is all attributed to the fast pace of technology development. Information technology has created an ever-authentic virtual shopping heaven which makes people feel seamlessly involved and connected. Besides, a significant transition was occurred in individual’s lifestyles. People tend to be more likely to communicate with the world through ‘screens’ rather than actually having to be face-to-face. Interestingly, since the world suffered painfully from the economic downturn, the trend of shopping online erupted throughout the world especially in Europe and America, which has boosted businesses of third-party hauliers overnight, with millions of cartons awaiting to distribution.

There are great deals of e-players who spotted the chance years ago and became extremely successful recently. Net-a-porter became the must-have link in European women’s favorite lists. Farfetch became very well-known for its great offers from thousand boutiques across the Europe. In UK, every fashion lover must have bought some items from ASOS, for its broad offers and top-level services. However, as the growth of e-commerce tends to become subdued, it is no longer just the speed and convenience which keep customers, but the multi-dimensional experience people want to have in brick and mortar shops. Therefore, different types of fashion businesses start to explore more opportunities through multi-channel operations by digging into consumer psychology and enhancing the creativity of virtual technology. It seems that luxury players are more likely to adopt information technology to support their marketing strategies. Brands like Burberry and Ralph Lauran do not mind making very heavy investments to create their stereo-cyberspaces.

Federico Marchetti – CEO of the Yoox Group(The global internet retailing partner for leading fashion & design brands, partners include Jil Sander, Dolce & Gabbana and Marni) – described the brand’s transactional website as a ‘digital mirror’ of the brand itself, which means businesses should work hard to achieve the authenticity of physical shopping through their virtual services. Some brands have been making big breakthroughs over the years and are very innovative in terms of exploring digital marketing methods. Burberry introduces the so-called ‘interactive catalog’ for their most recent collection on the brand website. The catalog presents motion responsive

眼觀當下 ，就購買時尚產品而言，人們可采取的購物途徑在不經意間已經變得非常豐富。十年之間，人們從傳統的實體店購物，逐漸轉向到網上購物，再到掌上購物。。。

當然, 科技的發展是這一變遷的前提。網絡信息的發展讓人們與虛擬的時尚購物環境親密無間。此外，10年之間, 人們生活的方式發生了巨大的轉變。外出社交似乎不再是人們的主要業余生活，取而代之，人們更喜歡與電子屏幕“交流”。既經濟危機之後，電子購物的趨勢一下迸發，物流公司也仿佛一夜之間空降了數以百萬計的包裹。。。

在 歐 洲 有白領 女 性們 忙 裏偷 閑 最 愛 瀏 覽 的 N e t- a -porter, 還有小眾時尚追寵者的最愛——Farfetch。在英國還有最親民的時尚網站asos。 然而，在網購行業豐富成熟之時，消費者網購習慣養成之際，消費者們註重的不再只是操作的快捷性，更是傳統消費過程的全方位體驗。不同類型的時尚零售企業爭相抓住此契機， 通過對消費心理的深層挖掘，與對網絡和信息技術的開發和創新試圖完善營銷渠道。特別是一些始終走在時代尖端的奢侈品牌，例如Burberry和Ralph Lauren，不惜投入巨額投資開拓讓消費者垂涎的立體網絡數字世界。

Yoox集團(來自意大利的高端時尚品牌互聯網零售夥伴，運營包括Jil Sander, Dolce & Gabbana, Marni等品牌網絡旗艦店) 的Federico Marchetti總裁精辟地形容：“時裝品牌的網絡商店就是自己的一面‘電子鏡子’”。因此，網絡商店要盡可能達到傳統購物體驗的真實性。一些品牌在追求真實感上的創新具有很大突破性，例如Burberry在網站上為這個季度的熱點產品引入的“互動性產品手冊”。瀏覽者可就一見單品瀏覽它的多角度動態和細節，以便更深入感受面料的材質，而不僅是單一地憑借一張照片做購買決定。英國時尚網站asos花重金組建團隊，專門為每一件產品錄制模特走秀，這是其

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Burberry Retail Theatre

images and videos that can be clicked, zoomed and rotated, which allows browsers to experience product details at a further level. The British home brand ASOS made great investments to build up a team in the house to produce video catwalk shows for almost every single product. The British and Japanese co-owned fashion boutique Oki-Ni has always been working in parallel with the Japanese culture of being technology-led. The ongoing project ‘STYLED’ consists of many sophisticated video lookbooks which present not only the innovative styles Oki-Ni embraces, but also the brand’s ethos of thinking forward.

Since 3G service has broadly covered the world and iphone, ipad and Google android have become widely used, fashion businesses have found another channel to sell their products. Following the direction of Christopher Bailey, Burberry initially introduced the concept of ‘retail theatre’, which created a great buzz during the spring/summer 2011 fashion weeks. The label enabled customers to watch the live simultaneous virtual shows in some of the flagships across the globe and allowed customers to receive orders from the show in seven weeks. ‘From runaway to reality’ was introduced by Burberry and is going to be their sustainable strategy. Apart from that, Rugby adopts the technology in their iphone app that allows users to create their own avatar that could try the Rugby collection and users could share the looks on facebook and twitter. This clever app help the brand attracts more potential customers. According to experts, m-commerce increase interaction between brands and customers 85%, due to its personal service, convenience and variety.

他任何一家時尚企業在電子開發方面沒有達到的。一直以尖端、新潮著稱的英國日本聯合時尚品牌Oki-ni更是履行了日本文化中對科技創新的一絲不苟，錄制了多個精致的視頻來介紹產品的混搭，充分體現了品牌在風格上的追求 － 閑適卻不失嚴謹。

隨著3G網絡的廣泛覆蓋，以及尖端移動產品iphone, ipad和Google android的問世與普及，時尚企業又有了大好機會開發新的銷售渠道。2010年九月的時裝周上，Burberry推出了retail theatre，使得時尚產業對Christopher bailey帶領的創意團隊的創新能力驚呼不已。Burberry和Veriton跨界打造的retail theatre使得品牌在全球25家旗艦店內同步直播服裝秀，被邀嘉賓可立即通過店內的ipad搜索服裝秀新品並下單，並被保證在7周之內收到單品。’From runaway to reality’的理念被Burberry首先提出，並將持續發展下去。 在Ralph lauren旗下的Rugby iphone程序中，顧客可以用頭像合成自己的模特並穿搭擁有自己風格的產品分享到Facebook和其他社交網站，這一舉動更是幫助品牌創造了更多客戶。有專家指出，移動程序平均為時尚零售企業增加了85％的互動頻率，因為移動商務提供的體驗和服務更加貼身、便捷及多樣化。

In 2010, in order to demonstrate the brand’s 10 years dedication to digital innovation, Ralph Lauren turned their two biggest flagship stores – the one on 888 Madison Avenue in New York and the one on New Bond Street – into real world canvases for a 4D Progection, which shocked many pedestrians and the press. This epic also proves that technology has pushed the fashion industry to a new peak. From the business point of view, the return on technology investment is very impressive for Burberry, whose digital sales climbed 50% every year. However, speaking objectively, e-commerce strategies are supported by huge financial investment and a creative team of elites from different backgrounds. Besides, the return is hard to measure and in some cases not obvious at all. Sometimes the result is just a short-term press buzz. Therefore, fashion businesses at the middle level such as high street retailers need to enhance their multichannel operations in ways that need smaller investments and get quicker returns. These ways still wait to be explored.

2010年，Ralph Lauren通過4D超現實投影技術，在倫敦新邦德街和紐約麥迪遜大道的旗艦店外呈現了無與倫比的壯觀熒幕，使來往行人嘆為觀止。視頻展現了模特走秀，品牌的文化歷史以及經典產品，慶祝了10年來品牌在電子信息技術上的不斷革新。然而就投資角度來講，Burberry在開拓電子營銷上的回報非常可觀，品牌的電子銷售額以50%的幅度逐年遞增。但是客觀來說，開發電子營銷策略不但要有豐厚的資金，完善的團隊以及頂尖的創意做基礎，實際對應的回報也難以估測，甚至可能不那麽明顯。有時，這些舉動只為企業征來了短暫的媒體報導。因此對於中檔品牌來說，他們要采用相對投資小回報快的方式來完善品牌的多渠道營銷，這為未來的電子創新指引了新方向。

HOT TOPIC

Fashion that deceives時裝的錯覺Dresses that pretend to be other garments, other objects.Fabrics that lie. Prints that look three dimensional but are flat.Bodies that are skewed and warped by their enclosing garments.Garment shapes that defy their own laws.Clothing that does not seem real.

禮服，假裝他們是它樣的服裝，它樣的物種織物的謊言，三維的印染，平面的展現身體被封閉扭曲的服裝包裹著服裝的形狀挑戰著他們的法束衣服，看起來並不真實

Exhibition display of ‘ Look Twice’

《 看了又看》 展覽現場

WRITTEN 撰文 x GIULIA PICCIONIPHOTOGRAPHY 攝影 x MEI LI 李梅

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Fashion fits between reality and illusion: reassuringly tangible one moment and evading our expectations the next. Fantastical garments can be created through the use of shape, trompe l’oeil and optical prints, allowing the discovery of an alternative version of reality. The opportunity to question perceptions of fashion and the fashioned body has led a new generation of designers to experiment with illusion and visual manipulation.

R.L. Gregory, a distinguished scholar of visual perception and illusion, has broken optical illusions into four types: ambiguity, distortion, paradox and fiction. The exhibition will explore these categories, both through the objects on show and through the displays themselves, which will use optical illusions to navigate the deceptions, tricks and manipulations that clothing plays out with our bodies as conspirators.

時尚，適合現實和幻想：一會兒真實可靠，而一會兒卻又與我們的預期相去甚遠。幻想中的衣服可以通過對於外形的掌控，視覺陷阱和光學印染來創造，使得我們可以通過這些發現現實的另一個版本。對於時尚的質疑引導新一代的設計師在幻象和視覺處理做出大膽的試驗。

卓越的視覺感受和幻象學者 R·L·格雷戈裏將光學幻覺分為四種：模糊、失真、矛盾和虛構。這個展覽通過展示的對象和展示方式來發掘這些類別，並且通過光學的幻象來駕馭這些圈套、詭計和被操縱的衣服，這些衣服如同謀般扮演了我們的身體。

The exhibition will be a platform for emerging British talents and their explorations into the illusory nature of dress. By presenting work from fashion graduates from Central St Martins College of Arts and Design, London College of Fashion and Edinburgh College of Art who explore visual distortions and contradictions in their work, this exhibition will not only look at how we view fashion, but how we can be tricked by it. Inspired by the dialogue between fashion and optical illusion, the objects on show will be displayed in ways that support the audience in interrogating what they see, discovering our curatorial deceptions and the gaps in their own perception. This contradiction, created by contrasting what the viewer expects to see with what they actually see, will encourage curiosity, increasing the enjoyment of the visitor and satisfying the need for unusual experiences, inherent within us all.

As curators of dress it is important that we recognise the multiple and contradictory messages that can be encoded within garments, in their very seams and surfaces. MA Fashion Curation at London College of Fashion is the only fashion specific curatorial course in the world. The course offers a unique opportunity to investigate and develop the specialist practice-based, critical and interpretative skills involved within the discipline of fashion curation.

該展覽是一個融入英國人才以及他們的探索服裝的虛幻本質的平臺。通過展示聖馬丁藝術設計學院、倫敦時裝學院及愛丁堡藝術學院畢業生的設計作品，這些作品展示了他們發掘視覺扭曲和矛盾，而我們又是如何被它們欺騙了。由於收到時尚和光學幻覺的過界對話，展覽中的主體以一種支持觀眾的質詢所親見的方式展出，發掘我們策展的圈套和觀眾洞察力的差距。這種矛盾，由觀者期待所見與真實所見的對比產生，同時，這種矛盾也激勵了大家的好奇心，增加了觀眾享受感，也滿足了的那些對於天生固有的不尋常的經歷的需求。

作為服裝的策展人，我們意識到那些服裝的一針一線所傳達出的多重和矛盾的信息是很重要的。倫敦時裝學院的時尚策展碩士專業是世界上唯一的專業時尚策展課程。這個課程提供了獨特的機會來研究和發展專業的、以實踐為基礎的、有判斷力的的、時尚涉及的解碼技巧。

HOT TOPIC

20|21 International Art Fair: Cosmopolitan Diversity20|21國際藝術博覽會國際化的多樣性

WRITTEN 撰文 x HARRY 劉競晨PHOTOGRAPHER 攝影 x HARRY 劉競晨BY COURTESY OF 圖片提供 x KINGS ROAD GALLERY

The 20|21 International Art Fair took place at the Royal College of Art, London, from 17 - 20 February 2011. The fair exhibits modern and contemporary art from the UK but also features a significant number of dealers who specialise in works from China, India, Japan, Russia and Poland.

The artwork on show included masters like Matisse, Miró, Picasso and Chagall (all works on paper), as well as contemporary urban art from the United States, British 20th century favourites such as Henry Moore and a large number of emerging artists.

The fair, now in its fifth year, has grown in terms of demand for stands, exhibition space, number of art dealers involved and the variety of art. Recent research has shown that the UK society is more cosmopolitan than ever. This is reflected in today’s art scene in general, and in the 20|21 International Art Fair in particular.

Among the exhibiting galleries, Art Chinese and Kings Road Gallery deserve particular mentioning, as they showed unique and vibrant artworks from China, which attracted a wide audience.

Shoran Jiang, whose works were shown by Art Chinese, has received critical attention with a series of recent exhibitions that take on controversial themes, such as life and death, control over life, and the relationship between men and women in paintings on semi transparent silk.

The Kings Road Gallery featured a so called “Terracotta Army Series”, painted by Liu Fenghua and Liu Yong. Their soldiers are coated in new outfits and feature the looks of US President Obama or the Queen. The Terracotta Army Series is an expression of the demand for an equal dialogue between eastern and western culture.

為期四天的20｜21國際藝術博覽會於2011年二月在倫敦皇家藝術學院落下帷幕。這個藝術博覽會著眼於現代和當代藝術，參展的多為專營中國、印度、日本、俄羅斯、波蘭等地藝術家作品的畫廊。

除此之外，其他國家的藝術品也同樣展出，比如馬蒂斯、米羅、畢加索、夏加爾，再比如來自美國的城市藝術和英國20世紀最受歡迎的藝術家比如亨利· 摩爾，還有更多的新興的藝術家的作品也在此展出。

此次第五屆20｜21 國際藝術博覽會展出的場地較之以往更大，參展畫廊數量更多，參展藝術品形式更為多樣，藝術品的價格區間也更為開闊。最近的調察研究表明，當今的英國社會比以往更加國際化，而這種多樣性也反映在如今的藝術市場上，在20｜21 國際藝術博覽會，尤其如此。

在眾多的參展畫廊中最應該提及的是藝術中國畫廊和國王路畫廊，這兩個畫廊都展示了自己獨據特色的中國藝術家的作品，使觀眾眼前為之一亮。

藝術中國帶來了年輕的中國女藝術家姜嘯然的作品。她的繪畫作品立足於有爭議性的題材，比如生存與死亡、命運的決定權、兩性關係，在半透明的絲綢上展現了特殊的深度和美感，在最近的展覽中贏得了許多關注。

國王路畫廊推出的劉風華和劉勇的兵馬俑系列作品，兵馬俑在這兩位藝術家的筆下換上新裝，比如奧巴馬的頭像、英國女王的肖像。這些兵馬俑反映了藝術家對於東西文化藝術的平等對話的心願。

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A LINE OF FLIGHT

EXHIBITION《逃逸線》藝術展

WRITTEN 撰文 x HAN RUI 韓睿PHOTOGRAPHY 攝影 x MARGARITA MONER LOPEZ

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Artists:Le Guo 郭洛

Haili Sun孫海力

Jeremy Lee李培宇

Xing Zhang張心

A Line of Flight Exhibition

《逃逸線》藝術展

Artgap is more than a magazine. It is devoted to introducing Chinese arts, and bridging the cultural gap between the West and East. “A Line of Flight” is the second exhibition Artgap presented for London based Chinese artists, which was held in March 2011. The private view party attracted over one hundred guests, including artists, designers, collectors, journalists, professors, art students, and many art enthusiastic from all different circles.

We are especially honoured to invite Professor Katie Hills to give us a review for the exhibition.

Artgap雜誌致力於展示當代藝術，建立中英文化藝術溝通的橋梁。2011年3月，Artgap雜誌在其卡姆登區藝術空間舉行辦了《逃逸線》藝術展，這是Artgap第二次為現居倫敦的中國藝術家舉辦展覽。展覽開幕當晚吸引了超過百位藝術愛好者，包括藝術家，設計師，媒體記者，畫廊，收藏家，藝術院校的教授和學生。

同時我們也有幸地邀請到凱蒂.希爾博士也為我們帶來她的藝評。

The exhibition A Line of Flight, shown at the Artgap Magazine space in Camden, takes a concept of philosophy from French philosophers Deleuze and Guattari to point to ‘a flow of deterritorialisation’, searching for ‘possibilities of escaping from repressive forces […] to re-engage a sense of creative agency’. Agency is certainly a strong presence in all of these works, whether it is in the interaction of man with nature, contemporary life and the media or in the more internalised discourse of painting itself. To borrow Le Guo’s words about his own work, the show encompasses a range of themes, ‘oscillating between abstraction and figuration; intention and process; de-formation and re-formation; conflicts and balance.’

The four artists in this small group show are all from China, but have lived and worked in the UK for many years. The need to have a line of flight is self-evident, as the problem of Chinese identity within the ‘West’ has by now become claustrophobic and delimiting. It is often irrelevant to artistic practices that lie outside of national or ethnic discourses. This show has a gentle breadth and depth to it giving the viewer space for contemplation and consideration. Each artist has his own line of flight in an attempt to propose in Terry Eagleton’s words ‘that most difficult of all forms of liberation, freeing ourselves from ourselves.’

Zhang Xing’s group of small paintings display an interest in simple details. The fragmentary nature of our everyday visual experience is rendered in his works with a softness of touch and colour. A grey mirrored image of a clock-face semi-abstracted,

《 逃 逸 線 》當代 藝 術四人 展 近 期在倫敦卡姆 登區 Artgap 雜誌藝術空間展出。展覽以法國哲學家德勒茲和加塔利的哲學概念強調“解轄域化的流變”，尋求“逃離壓抑力量的可能性－重歸創造力的感覺”。能肯定的是－此次展覽中的創造動力，無論是人和自然的互動，或當下日常生活和媒體，還是繪畫本身的內在話語均以此為突顯點。展覽涉及到一系列主題，正如 郭洛在談及他的作品時所述「流變於形與抽象，意象與過程；形態的重構與解構，沖突與平衡。」

參展的四位藝術家生於中國，但生活和工作於英國多年。他們的中國身份在“西方”成為了幽閉恐怖癥和僵化的界定，盡管藝術實踐存在於國家和種族話語之外和他們的身份並無太多關聯。但做為一種問題，他們不得不需求逃逸線。這個展覽在寬度和深度上，給予觀眾以凝視和深思的空間。每位藝術家有著自己的逃逸線，試圖闡釋特裏·伊戈頓所說「解放的最困難形式，唯從我們自己中解放自己。」

張興的一組小畫，展現了他對簡單細節的興趣。碎片式形態和日常視覺經驗在他的作品中以柔和的色彩和筆觸表現。半抽象灰色鐘表鏡象，綠色光影的中國國

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Royal Portrait, 9 Dec 2010 Jeremy Lee皇家肖像， 李培宇

Toothache, 牙痛，李培宇

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a Chinese flag in shades of green, a small planet - things that have no significance apparently and yet are adeptly transformed into painterly objects.

Jeremy Lee’s paintings are vibrant and clear-cut images taken from images in the media or photographs, extracted and distilled into moments that describe emotionally charged states of reality, sometimes with a political edge. The recent famous shot of Prince Charles and Camilla, caught by cameras in the back of their chauffeur-driven car in central London during the cuts protests, is immediately recognisable as an image of shock and exposure, recalling Warhol paintings of the kind of celebrities in compromising moments of public exposure. In the tradition of pop icons and celebrity, the painting becomes loaded with meanings by dint of the attention and status already accrued to the image that everyone has seen splashed across every paper.

Lee’s work Nobel Chair, is a simple image of absence, painted delicately with a sensitive attention to the blue pattern of the chair seat. The chair is the one meant for the Nobel Peace Prize winner, Liu Xiaobo, who had been jailed for eleven years by the Chinese government for his writings advocating governmental reform. In this small yet charged painting, the feeling of absence is tangible in the absence of the sitter.

Lee’s self-portrait Toothache, also has the air of celebrity, as the subject is shown as glamorous in a distinctive hoodie in red with gold swirls and yet also abject, his eye-lids shut, denying the view an insight into his feelings and his mouth skew-whiff, in an apparent state of discomfort. A further portrait, of Mao Zedong, is also a strong

旗，微小的星球。這些顯然並不重要的物件嫻熟地被轉化為繪畫對象。

李培宇鮮明強勁的畫面圖像來自媒體和圖片，截取於現實中具有感染力的瞬間，時有涉及政治。比如，近期廣為流傳的察爾斯王子和卡美拉的專車，困於倫敦中心的抗議人群中，被抓拍到他們驚愕和曝光的形象。回想到沃霍爾繪畫作品中，名人在公眾曝光時妥協的一刻。在明星和名流的傳統中，繪畫承載意義是憑借著吸引大眾目光和廣為傳播的圖象。諾貝爾椅－簡易的形象缺席。作品中對椅子的藍色圖案敏感和細膩表現，暗示著諾貝爾和平獎得主劉曉波的缺席。由於他倡導政治改革而被監禁。在這幅小而有張力的畫中，感覺的缺席可感知到座者的缺席中。李培宇的自畫像，牙痛－同樣具有名人神態，主體在富有魅力和特色的裝束中，同樣淒苦合著雙眼，斜著嘴唇，拒絕看到他的感受。偶像領袖毛澤東的畫像，則以側面、急速和粗糙的筆觸強調衰老，猶如自權力中衰落。

郭洛的作品呈現既不是再現或特定繪畫的形態。如他所說：「流變於形與抽象。」這一系列繪畫作品流變於不同的文化傳統，涉及傳統中國繪畫和西方戰後的抽象繪畫。試圖汲取一種傳統、現代和當代繪畫語言的混合體。他的繪畫棲居於沖突與和諧的雙重世界中。郭洛的作品具有內在本能特質。比如，明亮的粉紅纏

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凱蒂·希爾

凱蒂·希爾博士為英國西敏寺大學中國當代視覺文化的高級

講師。她與蔡元先生同為位於牛津的中國當代藝術研究所

負責人。該機構致力於推動和介紹中國當代藝術家。

Katie Hill

Dr Katie Hill is Senior Lecturer in Contemporary Chinese Visual Culture at the University of Westminster. She is also co-director with Cai Yuan of the Office of Contemporary Chinese Art (OCCA) based in Oxfordshire, an organisation that represents and promotes contemporary artists from China.

Tips 小貼示

portrayal and a critical one, as the iconic leader’s face is shown from the side with sweeping, hard-edged brush-strokes emphasising his age and degenerate state, as he falls from power.

Le Guo’s paintings are non-representational and lie, as he says, between abstraction and figuration. These paintings that work across the cultural traditions of both Chinese ink painting and post-war abstraction in painting, seem to be drawn from a combination of on traditional, modern and contemporary painting discourses. In Guo’s words, they are paintings that ‘inhabit the dichotomous worlds of conflict and balance’.

Guo’s work, in a palette of thick swirls of greys and pinks, has a visceral quality to it, so that the form of the paintings merge with the tangible materiality of paint, working in a forceful dynamic of merging colours and motion. The imagery of Le Guo’s paintings presents a stasis of movement, as swirling, unintelligible globules or clusters seem to entail a constant fluidity. Their bodily presence evokes organic matter at the level of micro-biology or the magnetic forces of nature that reach into the unknowable.

Sun Haili’s work stands in contrast to the paintings of the show. As a sculptor, Sun’s recent works engage in the theme of man and nature and the physical quality of landscape in urban or suburban settings. His short film, screened on a small television, shows the artist as explorer, surveying a seemingly endless brown wasteland. There is a sense of the tradition of exploring and the reference to the idea of wilderness, yet the end of the film reveals a contemporary suburban landscape on the other side of the ‘wilderness’, of modern Milton Keynes, a faceless scene of modern living. Sun’s exploration of the modern condition through the strange borders that lie between a ‘new’ territory about to be ‘conquered’ and the built lived environment of suburban playing fields and new housing, poses interesting questions about our understanding of our environment and by extension landscape itself. Sun’s photographic works of materials placed in landscape settings, are poetic works in which landscape is transformed or enhanced by what is placed in it and the juxtaposition of the natural and unnatural. Sun’s knowledge and understanding of landscape and the object is such that these works have integrity and a rigour of composition that makes them effective.

Sun’s installation of goldfish, placed high up, in large pieces of thick see-through polythene, crudely pinned to the ceiling, plays with expectation and forces the viewer to look up. This could be a comment on the arbitrary effect of modernisation, as nature adapts to an artificial landscape. It is also a nice play on viewing positions and the balance between nature and culture. The fish, taken from Sun’s own pond and happily swimming in the pools of clear water, act as a kind of gentle intervention amongst the other works.

This thoughtful exhibition gives a small window onto four artists each of whose practice has potential far beyond such a modest display. In the process of Deleuzian deterritorialization, the lines that carry these artists away also place them firmly onto the proverbial map.

Katie Hill, March 2011

繞著混濁的灰色調，繪畫形式融入了可觸知的繪畫材料中，色彩和動勢相融於一種生機渤渤的力量中。郭洛繪畫作品的意象呈現出靜態平衡般的流動，隱約難辯的旋轉系列球狀物，呈現出持續的流動性。作品物質的觸感喚起對細微微生物或自然磁場中有機體狀態的不可知性。

孫海力的作品和其它展出的繪畫作品呈現對比。他近期的作品觸及人、自然和風景的物質性的關系，在都市和郊區中的位置。他的錄像作品，似乎在探測無窮的廢墟－ 意味著對傳統“荒野”概念的關註與探索。在錄像結尾展現給我們的是當代密爾頓· 金市郊區“荒野”風景的另一面，一種乏味的現代生存狀態。他通過對“新”地域邊緣繼而被“征服”，建造成生活環境這一現代生存狀態的探索，提出我們對自己生存環境的思考。他的圖片作品中，人工材料被放置於自然環境中，通過並置自然和非自然詩意般地轉化和強化了自然環境。他對風景和物體的認知，使作品能完整和精確的呈現。大片塑料布未修飾地懸空在屋頂的裝置作品，金魚遊動於中，迫使觀眾仰視，也許這是對現代化武斷的訴求，要求自然得去適應人工化的環境。同樣也是調整自然和文化觀察的視點。金魚快樂地遊動於水中，恰如平和地介入別的作品之中。

這個令人深思的展覽，給我們一個小小的窗口。讓我們看到這四位藝術家探索的潛力遠遠大於這個展覽。在德勒茲“解轄域化”的過程中, 這幾位藝術家以個自的“逃逸線”,離開原地並一定能到達人們期待的坐標。

凱蒂·希爾 2011年 3月

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Drift With The TideHaili Sun 孫海力

Merrily DancingHaili Sun 孫海力

PHILIPPE PARRENO

FANTASY MAKER

幻境制造者菲利普·帕雷諾

WRITTEN 撰文 x HARRY 劉競晨BY COURTESY OF 圖片提供 x LONDON SERPENTINE GALLERY 倫敦蛇形畫廊

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» Phil ippe Parreno «

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Invisibleboy 2010, Film still, Courtesy of Air de ParisCourtesy of Centre National des Arts Plastiques Ⓒ2010 Philippe Parreno

Brief introduction of the art ist Philippe Parreno is an accomplished artist and filmmaker. He rose to prominence in the 1990s, earning critical acclaim for his work, which employs a diversity of media including film, sculpture, performance and text. He was born in Oran, Algeria in 1964 and is currently based in Paris. Throughout his work there is a constant questioning of the relationship of the image and the modes by which it is exhibited. He combines his earlier works with new visions, so that the narrative structure of his work is made up of an interesting juxtaposition between creation and re-creation.

藝術家簡介

菲利普·帕雷諾（Philippe Parreno）1964年出生在阿爾及利亞西北部港口城市奧蘭，現定居法國巴黎，他是當下非常活躍的影像藝術家，其作品涉及影像、雕塑、行文表演和文字。自1990年代以來，由於其作品的多樣性和獨特的作品展示方式而被藝術界和廣大公眾所關註。 縱觀帕雷諾的創作歷程，不難發現他一直以來都在不斷的探討影像和影像呈現方式之間的關系， 他將自己的影像作品以及展示現場作為一個統一的整體進行考量和創作，通過其獨特的視角和展示方式將影像作品，展示幻境以及觀眾緊密的結合起來，重新創作出一種特殊的觀看體驗。

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最新展覽

帕雷諾最近的展覽是在倫敦蛇形畫廊舉辦的，展示他從1991年至今的四部作品。帕雷諾非常善於利用環境和巧妙的展覽設計來將作品和觀眾統一起來，此次展覽也不例外，觀眾必須在畫廊中不斷的探索和穿梭來追逐滾動播放的影像，同時帕雷諾設置了可以接收戶外聲音的麥克風，使得在作品開始播放之前觀眾很難分辨虛幻的影像和現實之間的界限，一旦作品開始播放，混雜現實與虛幻的聲效混合帶給觀眾多重現實之間的復雜體驗。

Lastest Exhibiton The latest presentation of Philippe Parreno’s work was currently taking place at the Serpentine Gallery. It is his first solo exhibition in a public institution in the UK, where four of his works, created between 1991 and 2010, are one show. Philippe Parreno has a talent to use space and design to create a unique experience for his audience. For the exhibition at the Serpentine Gallery he uses sounds as a a medium to create an experience of multiple realities.

June 8, 1968, 2009,Film still,Courtesy of Pilar Corrias LtdⒸ2010 Philippe Parreno

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June 8, 1968, 2009,Film still,

Courtesy of Pilar Corrias Ltd

Ⓒ2010 Philippe Parreno

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The Boy From Mars 2003,Film stillⒸ2010 Philippe Parreno

The Boy From Mars, 2003,Installation view, Serpentine Gallery, LondonⒸ2010 Gautier Deblonde

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June 8, 1968, 2009,Film still,

Courtesy of Pilar Corrias Ltd

Ⓒ2010 Philippe Parreno

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Invisibleboy 2010, Film still, Courtesy of Air de ParisCourtesy of Centre National des Arts PlastiquesⒸ2010 Philippe Parreno

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Invisibleboy 2010, Film still,

Courtesy of Air de ParisCourtesy of Centre National

des Arts PlastiquesⒸ2010 Philippe Parreno

BETWEEN LIFE

AND DEATH抉擇在生死之間

To be or not to be, that is the question—Shakespeare, Hamlet

是生存還是死亡，這是一個問題—莎士比亞《哈姆雷特》

WRITTEN 撰文 x SHORAN JIANG 姜嘯然

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» Shoran Jiang 姜嘯然 «

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Suicide-Ophelia Front and Back

It is undeniable that we are still living in a male-dominated world. In this type of society, emotional suffering of women is something that easily tends to be ignored. But often, the things we strongly suppress are those we should most urgently address. Suicide, as the most extreme consequence of emotional wounds and pain, is generally a taboo issue, but one that – due to its extremity – can strongly stimulate reflection. That’s why I choose suicide as the subject of my artwork, although I know that it is an extreme form of discourse.

The Ten Commandments of the Bible, include ‘Thou shalt not kill’ in Exodus 20: 13, which refers to both killing oneself and others. In Buddhism, it is believed that people who kill themselves will stay in hell forever and will never be reborn into a new life. Although the subject may be taboo, when women artists represent suicide, their purpose is to make people think about the issue rather than encourage it. If the works make audiences think about why these women commit suicide and how they had become emotionally wounded, then the works can be seen as successful. This is my main intention.

An important creative choice for me was the material to work with. I selected semitransparent silk which allows me to create two layers of my paintings so that the works can be seen from both sides. Silk is a thin, soft and elegant material, which is widely used in fashion and is a symbol of femininity. The character of silk reflects my true feelings about emotionally wounded women. The layers of silk allow me to show that you cannot always see painful experiences on the outside of a person. Suffering woman may disguise their true stories and emotions, so in my paintings I use masks to symbolize this hidden inside world, whereas butterflies are the symbol of rebirth. Furthermore I use blood in an obscure way to show that the wounds are not only on their body, but also in their heart.

The inspiration for the Suicide Series is taken from prominent suicides in both literature and history, such as those of Jocasta in the Greek Mythology, Shakepeare’s Juliet and Ophelia, or Amedeo Modigliani’s wife Jeanne, who committed suicide only two days after her husband’s death.

Suicide is a direct way to take control of one’s own destiny, as birth is controlled by the parents and death by nature. However, it is a paradox that the only action a person can take to gain control over his life is the very action that will lead to its end. Women’s traumas, suicide, and a person’s destiny are subjects that move me and I will further explore in the future.

EXCLUSIVE COLUMN

不可否認，當今仍然是一個男權社會。而在這個社會大背景之下，女人所受到的情感傷害就更容易被人們所忽視。越被忽視的現象，其實往往更應該被重視。自殺是一種情感的極端的發泄，正因為這種極端的形式，更能給人們留下各種各樣的回味。在眾多中外名著中，自殺的女人，往往更容易打動讀者。比如莎士比亞的《羅密歐與朱麗葉》，在朱麗葉淒婉的自殺之後，每個讀者無不為這一舉動而黯然。而中國霸王別姬的故事，虞姬自刎，也在歷史上留下了一筆。

在許多的文化宗教當中，自殺是禁忌。比如佛教當中，自殺的人不可以再轉世輪回，基督教中的“十誡”中的“不可殺人”，也包括了不可以殺自己的行為。我的作品，並不適用血腥的畫面來告訴大家如何自殺，而是通過一種唯美的手法，讓人們關註這個話題。我希望，觀眾可以通過我的作品，看到這個世界，女人特有的脆弱，女人獨有的敏感。而我也正是從一個女人的角度，來表達一個女人的觀點。

在材料上，我結合了中國和西方的繪畫材料；技法上也是將國畫傳統的沒骨、線描等技法結合西方的水彩渲染的手法；在人物造型上，也是把寫實和虛幻融合到了一起，力求創作出一種飄渺卻又真實的夢境。我選用了多種象征手法：蝴蝶，取其“破繭重生”的寓意；女人飛舞的秀發，表達了女人內心的矛盾；面具，是生的時候所佩戴的，直到死的時候，才被拿下。兩層畫布，使我的繪畫作品，突破了二維，而成為了三維藝術。觀者更是可以從前後兩個不同的角度，來體味女人不同的情感世界。

了斷系列選擇了文學或者歷史上著名的女子自殺事件作文靈感，比如《伊俄卡斯忒》。這張取材於西方著名的俄狄浦斯王的故事，而在這個“性格決定命運”的悲劇故事中，俄狄浦斯王的母親伊俄卡斯忒更始以自縊的方式結束了她悲慘的命運。再比如耳熟能詳的《朱麗葉》、莫迪裏阿尼的妻子《珍妮》（在莫迪裏阿尼趨去世後的第二天，帶著腹中的孩子，跳樓自殺）、《奧菲莉亞》（莎士比亞《哈姆雷特》中的不忍悲慘命運，跳河自殺的女人）。

自殺這個主題，並不是單單關註與自殺這個現象或者這種情感的表達方式，其實更多的是探討女人對於自己命運的自主權。因為生，受於父母；死，決於自然。而自殺，是唯一一種可以掌控自己命運的手段。 但，這是一個悖論，自殺是唯一一個可以直接決定自己命運的手段，而也是斷送自己生命的方式。

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Suicide-London impression Front and Back

EXCLUSIVE COLUMN

PILLARSSTRUCTURING OF YOUR FLOW

支柱--構建你的流程 WRITTEN 撰文 x ANTHONY EBANKS

TRANSFORMATION ARCHITECT 圖片提供 x D&AD

» Anthony Ebanks «

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Creative or transformational ideas no matter how innovative it requires a set of pillars. Pillars are the sets of circumstances and or items that make your idea or concept credible to develop into a project. The following are a set of criteria to help identify your pillars.

Clarity – how would you tell someone in a sentence what the idea is?This is the distillation of your idea, what it does and why, a thoughtful sentence is enough to aptly express it.

A pragmatic way to see it, is to think what you would answer, if someone asked you what you did for a living?• Your company is a mute point• The job title you have is a mute point• The experience you have is a mute pointMy answer to that question is “I solve problems” – Consider what yours would be.

Location – Where does the idea need to happen?The world is smaller than ever, but some things can only be done in one place, choose the right place for your idea to become a project and flourish.

Expertise – What expertise is needed?Time to be honest with yourself, can you do this or will others need to be a part of it, if you need others why would they do it? Creative or Transformational project – this must be a business decision.

Assets – Where does the money / supplies come from?Whatever you think it will cost – add 15%, economics is the lifeblood of an idea – get this pillar right or the idea will wither.

Responses – What do outsiders do when they know about the idea?“I want one”, “let me see” or “I want to do that” – how people react to the idea is something to pay attention to as it can make or break it.

Success depends upon making CLEAR pillars a part of your preparation, and without such preparation there is sure to be failure.

創意或者物質化的想法，無論怎樣創新都需要支柱。支柱是一些環境情況或者那些使你的想法或理念可靠並發展成一個項目的元素。以下的是這些概念可以幫助確定你的支柱是什麽。

清晰度--你如何用一句話告訴別人你的想法是什麽？這是對於你的想法的一次升華，它做什麽，為什麽，一句深思熟慮的語句足以恰當地表達出來。

以實用主義的態度來看，如果被問及你的職業，你會怎麽說？• 你的公司是無意義的• 你的頭銜是無意義的• 你的經驗是無意義的對於這個問題，我的答案是“我是解決問題的”--想像一下，你的答案會是什麽。

位置--這個想法會在哪裏發生？如今的世界比任何時候都要小，但是有些事情只能在一個地方完成，選擇合適的地方去發展你的想法。

專業知識--你需要什麽樣的專業知識？是你要誠實面對自己的時候了，你可以獨自完成嗎，還是需要其他人的協助，如果你需要協助，他人為什麽要這麽做。創意或者物質，這必須是一個商業決定。

經濟因素--這些錢從哪裏來？無論你認為成本是多少--加上15％，經濟因素是一個想法的生命線--要清楚無誤地了解這個支柱，否則你的想法就會流產。

反應--當局外人知道這個想法以後，他們做什麽？我相要一個想法，讓我想想看，或者說，我想這樣做--對於某個想法，人們如何做出反應，是成敗的關鍵。成功取決於以往的準備，如果沒有這樣的準備，一定會失敗。

In order to build upon the past articles introducing FLOW methodology for producing quantifiable, successful creative and transformational projects for organizations to the wid-

est possible audiences, this one will focus on ‘Pillars’.之前的文章我對於生產適用於組織甚至於最廣泛的觀眾的、可以計量的、成功的、獨創的、可轉換的項目的方法論進行了介紹，基於以上的方法論，

本文將著眼於“支柱”。

Goals, Pillars, Milestones, Refining, Evaluation 目標、支柱、重要階段、精煉、評估» »

WRITTEN 撰文 x JENNY LU 陸雯恺

PHOTOGRAPHY 攝影 x MEIEN LIEN 連美恩，JINGWEI ZHANG 張靖威

EXCLUSIVE COLUMN

An interview with Graham fink

ADVERTISING:THE MOST FUNYOU CAN HAVE

广告：最有趣的事采訪英国創意教父Graham Fink

» Graham Fink «

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Graham Fink, a remarkable figure in today’s advertising industry, the current Creative director of M&C Saatchi is leaving the agency to join Ogilvy & Mather China. Taking on the role of chief creative officer, He will be responsible for overseeing the creative department across 17 offices for Ogilvy China. The co-founder of Artgap magazine Ying He and editor Jenny Lu had an interview with Graham in his current London office.

Artgap:What causes to you work in advertising?Graham: I went to the art school. I like everything there, painting, photography, calligraphy, typography, design and illustration. Then I found out that in adverting you can do all sorts of things. It’s all combined together.

Artgap:How is your typical day like?Graham: Incredibly busy. I start about 8:30 in the morning till 9:00 at night. I work as hard as a Chinese. If I am lucky I got weekend off. I have lots of meeting, lots of projects. Very fast but very stimulating and lots of fun. They always say advertising is the most fun you can have with your clothes on.

Artgap: Where do you normally get your inspirations from?Graham: I have got 2000 books in my office, and I’ve got more at home. I go to lots of art galleries, but I also find inspirations in the stuff some people just past over, like pavement or the wall. I take thousands of pictures of walls and pavements, you look at the walls you see cracks and paint leaking off, and they are inspiring. Inspirations come from anywhere, and you just always should have an open mind.

Graham Fink 先生，英国广告界的傳奇人物，創意教父，原倫敦 M&C 薩奇广告公司的創意總監，将前往中国上海担任中国奥美的創意總監，領導17家各地分公司的創意部門。Artgap 雜誌聯合創辦人 Jenny Lu 在倫敦採訪了他。

Artgap：当初是什么讓您選擇進入广告業的？Graham：我上的是藝術类大学，我几乎喜歡所有关于藝術的東西，像油画，攝影，書法，平面設計，插画。然后我發現在广告業你可以做所有這些事情，你可以拍電影，做大幅的油画，广告把我所熱愛的都包括了。

Artgap：您平常的生活是如何安排的？Graham：我的工作相当的繁忙，通常要从早上8：30工作到晚上9：00，运气好的話会有周末。我像中国人一樣相当努力地工作，呵呵。每天都有不同的會議，不同的項目，工作節奏很快，但是非常有趣，讓人振奮。我們常說：做广告是人穿着衣服能做的最有趣的事了。

Artgap：您的創意灵感通常来源于哪里？Graham: 我看很多書，在我的辦公室里就有2000本，家里更多。我也喜歡去看一些藝術展覽。我經常从一些微不足道的地方尋找灵感，比如說一堵有裂縫的牆或是油漆還没有干的人行道。我会用相机把他們拍下来，這些人們容易忽略的細節對于我来說通常是最能激發灵感的。

Graham Fink 所獲得的廣告

和藝術獎項，其中包括D&ad，戞納等多項廣告大獎

EXCLUSIVE COLUMN

Artgap: What do you think of the relationship between art and advertising?Graham: Lots of links. I don’t think adverting is art, but it’s a form of it. We are inspired by art and artists are inspired by advertising too. If you look at the works of Andy Warhol, you will see POP art is inspired by adverting and comics.

Artgap: You have set up a school called “theartschool”, can you tell us more about it?Graham: “theartschool” is the idea I had where I wanted to teach and help people for free. I just told students I am going to do this and I would give them a day in a venue. We always have different venues, and we did once in Parliament House. Anyone who wants to come just turns up, we had 50 to 250 people. I would give a talk and I normally get a guest speaker to do a talk and I would show some works. Then I would set a brief and we work on it. I look at the works at the end of day, giving feedback. They are fantastic, and it’s a great way finding talents. I plan to open “theartschool” in China as well to inspire the Chinese students and help them get into advertising.

Artgap: Could you tell us one of your most memorial things happened in your work?Graham: More recently I work with Tony K, he is an excellent film director, and he is a genius. We did a commercial with him for a beer called Cronburge. We have chefs in the kitchen chopping big bubbles into small ones, and the idea is that smaller bubbles give you smoother taste. Tony shot the commercial with the chefs in the kitchen chopping bubbles, which is pretty mad. In the between break, he played guitar, writing songs and singing, then he went back to shoot the bubbles. An amazing man!

Artgap: When China is mentioned, what is the first thing you would think of?Graham: The city of the future, very very fast, lots of people, lots of visual delights, lots of amazing architecture, different ways of thinking and lots of chicken feet.

Artgap: What do you think of the advertising in China nowadays?Graham: Compare to the UK’s, it’s very conservative. I will try to make the work better and more interesting, innovative and creative. I believe in working closely with people, not just creative team but also strategies and client. Every one is part of the team. You have to work together, understand and help each other to get great work.

Artgap: What’s the biggest challenge you can imagine about working in China?Graham: I think it’s the language, and I have a lot of culture to learn. It’s an amazing culture there. Oh, of course and the chicken feet.

Artgap: Do you think you will be affected by the culture difference, for instance, the client with different mind?Graham: Obviously it will be a challenge but I think human being have lots of things in common. We all like to laugh at funny things; if you are hungry, we all go for eat; we all like to go on holidays; if some one dies we all very sad. Human emotions are always the same, you have to start there to make a connection on something is not on your head, but on the heart level.

Artgap：那您怎樣看待广告与藝術的关系？Graham：两者有很多聯繫，但我認為广告不是藝術，但是藝術表現形式的一种。广告經常会被藝術所感染，而藝術家們也会从广告中尋找灵感。如果你去看 Andy Warhol 的作品，就会發現波普藝術很受广告的影响。

A r t g a p ： 听 說 您 在 英 国 成 立 了 一 个 公 益 学 校叫“theartschool”可以向我們介紹一下嗎？Graham:当時我想義務教大家广告知識，所以就有了辦“theartschool”（藝術学校）的想法。我告訴大家我每次会定一个地方，給大家一天時間，任何人只要感兴趣都可以来听。每次我都会選特别一点儿的地方，比如有一次就在議会大楼。来上課的人每次50到250人不等。通常我会邀請一位特約嘉賓和我各做一个演講，然后我給大家一个創意要求, 大家一起討論。最后我会給学生們的作品做些點評。大家的作品都非常不錯，這也是一种發現人才的方式。我希望我能把這个学校开到中国，給大家灵感，帮助大家進入广告界。

Artgap：您在工作中有没有遇到一些難忘的事情可以和我們讀者分享一下？Graham: 就在前段時間，我与電影導演 Tony K 合作拍 Cronburg 啤酒的广告，他真是个天才。我們想表达泡沫越小，口感越絲滑的概念，所以請厨師們把大泡沫切成小泡沫。他在厨房里拍，厨師不断切着泡沫，場面瘋狂又混乱。中間休息的時候，Tony一邊写歌，一邊唱歌彈吉他，然后又繼續去拍切泡沫。不可思議的家伙！

Artgap：当你想到中国的時候，首先進入你腦海的將會是什么？Graham: 未来感的城市，快速的節奏，龐大的人口，不同的思考方式，当然還有和很多很多的雞爪子！

Artgap：您如何看当今的中国广告？Graham: 和英国比起来，現在中国的广告還是比較保守的，我会努力做得更有趣新穎。我相信不僅在創意部内需要協同合作，更要和策划部還有客戶彼此理解，互相支持，那一定就会很做出出彩的作品。

Artgap：在中国工作對您来說最大的挑戰是什么？Graham: 恩，可能是語言吧，另外我還有很多文化方面的東西需要學習，中国文化非常神奇。恩，当然，吃雞爪也很有挑戰性。

Artgap：您怎麼看待中西文化差异帶来的影响，比如中国客戶的思維方式也会不同？Graham: 虽然文化上会有巨大的差异，但人类有很多共性。我們都会笑，都会餓，都会難過，人类的情感都是互通的。我們要試著溝通心灵，而不僅僅是思維。

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Artgap: When will you actually start your work at Ogilvy China? How do you feel about it?Graham: I will start on July 18th which I hear is a lucky number coz there is 8, and 8 plus 1 is 9. 9 is a good number as well. I think it just gonna be a big culture shock. For us is like a new planet. It’s a fantastic thing to explore. I want to visit lots of Chinese cities. I am looking after 17 offices, I want to visit all of them and it will be like my second life.

Artgap: How are you going to inspire people when you go to China?Graham: Showing people interesting work, I will take a lot of work from UK which I can show, I will do lots of talks, I will show lots of samples, and I will be very passionate. Hopefully passion and inspirations will come out and excite people.

Artgap: What advice will you give to people who would love to work in advertising?In advertising you got a brief, some people just translate the brief onto the page. You should get rid of that. Chop off your head and let the heart come out.

Artgap: Can you give a word for the readers of Artgap?Graham: China is the most exciting place to be in the world right now. If you are there, congratulations; if you are not there, come to China.

Artgap：您担任中国奥美任創意總監的具体日期是？您将会是怎樣的心情？Graham: 我会在7月18日正式上任，我听說這是个吉利的数字，有个8在里面，1加8是9，又是个不錯的数字，呵呵，祝我好运吧。中国對于一个来自英国的人来說是个如此神秘而龐大的国家，就像另一个星球一樣，我相信一定会有很多精彩的東西等着我去發掘。奥美在中国就有17家分公司，每一家我都很期待去看看，好像我要开始我的第二次人生。

Artgap：去了中国以后您将如何帶領新的團隊？Graham:我会帶很多英国的優秀广告作品去中国，組織很多演講，展示很多的作品。我会用我的巨大的工作熱情去感染人們，激發他們的灵感。

Artgap：您對想進入广告業的年輕人有什么忠告？Graham: 首先，你必須停止思考，因為過于理性会讓你變得小心翼翼，中規中矩。你需要做的是把頭砍下来，讓你的心跳出来說話。

Artgap：最后想對我們Artgap讀者說点什么？Graham: 中国是当今世界上最讓人激動的地方，如果你現在在中国的話，恭喜你！如果不是，赶快去中国。

廣告設計師們在工作室進行

創意頭腦風暴，團隊合作往往

是一個作品成功的關鍵

Artgap雜誌的市場總監何穎

（左），Graham Fink 和本

文作者陸雯恺（右）

SPECIAL FEATURE

ALL FOR ONE AND ONE FOR ALL

人人為我 我為人人泰特現代美術館

TATE MODERN

WRITTEN 撰文 x HARRY 劉競晨PHOTOGRAPHY 攝影 x 李梅 LI MEI, MARGARITA MONER LOPEZ

BY COURTESY OF 圖片提供 x 泰特現代美術館 TATE MODERN

Located in London, Tate Modern belongs to the family of four Tate galleries (Tate Modern, Tate Britain, Tate Liverpool and Tate St Ives) which display selections from the enormous Tate Collection, which is the national collection of British art since 1500 and international modern art. What is im-pressive about Tate Modern is not only the size of its collection, but also that it survives and develops as a charity.----------泰特現代美術館是英國主要的現代美術館，也是倫敦最受訪客喜愛的名勝之一。它坐落在倫敦，於其他四個美術館（泰特英國美術館，泰特現代美術館，泰特利物浦美術館，泰特聖艾富思美術館）共同展示泰特的藏品。泰特現代美術館最有特點的地方，不單單是它龐大的館藏，而更有特色的是它作為一個慈善機構的生存方式，以及它回報社會的形式。

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Outside view of Tate Modern 泰特現代美術館外景

新館大樓─ ─重生

泰特現代美術館大樓的前身是河畔發電站，當初由建築師史考特（Giles Gilbert Scott）設計建造的。在1982年時發電站停止運營。而這座建築巨大的面積，顯明的外型，優越的地理位置，都是無法比擬的優勢。而新的泰特館於之前的泰特美術館在泰晤士河兩岸遙相呼應，兩座展館可以通過泰晤士河的船舶相連結。

而對於原發電站的改造也是通過國際建築大賽，向全世界徵集改造方案而獲得的。最終的獲獎方案由瑞士建築設計師雅克 · 赫爾佐格（Jacques Herzog）和皮埃爾· 德· 梅隆（Pierre De Meuron）提供的。他們的方案被選中的一個重要原因就是他們保持了這座建築的大部分特點。在經過了改建之後，現在的泰特現代美術館便矗立在了世人面前。

The Tate Modern complex was a former power station that had closed in 1982, so it was available for the con-version into a gallery. It was a very striking and distin-guished building in its own right, by the architect Sir Giles Gilbert Scott. Its enormous size, great architecture and amazing location appeared something of a miracle. The fact that the original Tate Gallery was also on the river made a satisfactory symmetry, and meant that the two could be linked by a riverboat service.

An international architectural competition was held attracting entries from practices all over the world. The final choice was the relatively small Swiss firm Herzog and De Meuron. A key factor in this choice was that their proposal retained much of the essential character of the building.

HistoryTate Modern is situated on the Bankside, an area on the south bank of the River Thames, opposite St Paul’s Cathe-dral and 10 minutes walk from London Bridge. As one of the oldest districts in London, this area was originally an ancient settlement which sprang up around the south end of the first London Bridge, built by the Romans shortly after their arrival in Britain in AD43. This area has experi-enced ups and downs: prosperity in the Middle Ages, then the emergence of a pleasure ground, the rise as a centre for commerce and industry in the mid eighteenth century, and the horrors of heavy bombing during the Second World War. In the late 1980s, the Southwark Council began to realise the Bankside’s true potential. The redevelop-ment of the redundant Bankside Power Station was seen as key to the regeneration of the area. With the creation of the Tate Modern, this area has become a vibrant cultural focus for London.

By about 1990 it was clear that the Tate Collection had hugely outgrown the original Tate Gallery on Millbank. It was decided to create a new gallery in London to display the international modern component of the Tate Collec-tion. For the first time London would have a dedicated museum of modern art. At the same time, the Tate build-ing on Millbank would neatly revert to its original intend-ed function as the national gallery of British art.Conversion

歷史──積澱

泰特現代美術館位於泰晤士河南岸，聖彼得大教堂對面，距離著名的倫敦塔橋僅10分鐘的路程。作為倫敦最古老的地區之一，這是羅馬人在公元43年到達英國之後，繁衍生息而來的。在經歷了中世紀的繁榮，到後來的娛樂場所的興盛，至18世紀中葉的經濟發展，再到二戰之後的衰落與重建，這片地區經歷了風風雨雨。20世紀80年代，議會決定要重新挖掘這片地區的潛力，而將泰特現代美術館選址於此地其實是對這一地區重建的關鍵。而將泰特現代美術館安置在這裡，確實為這裡帶來的很大的生機和藝術文化氣息。

大約在1990年，最初的泰特美術館的館藏大大增長，這時，一個新展館的需求迫在眉睫。而新的展館也訂位在展示國際現代部份的藝術品，這也是倫敦首個現代藝術的博物館。與此同時，原先在Millbank的泰特大樓轉向於英國藝術。

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Outside view of Tate Modern

泰特現代美術館外景

開放時間：

周日－周四 10：00－18：00

周五、周六 10：00－18：00

12月24－26日閉館

Opening Hours:Sun – Thu, 10.00–18.00Fri and Sat, 10.00–22.00Closed 24, 25 and 26 Dec

Tips 小貼示

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Joseph Mallord William Turner,The Blue Rigi, Sunrise,1842 Watercolour on paper, Tate Modern

Patrick Heron January 9: 1983: II 1983 © Estate of Patrick Heron. All Rights Reserved, DACS 2010

Tate Modern CollectionCreated in the year 2000, Tate Modern now displays the national collection of international modern art since 1900. International paintings pre-1900 are shown at the National Gallery and sculptures at the Victoria & Albert Mu-seum. Tate Modern includes modern British art where it contributes to the story of modern art, so major modern British artists may be found at both Tate Modern and Tate Britain.

The Tate collection of modern and contemporary art represents all the major movements from Fauvism on. It includes important masterpieces by both Picasso and Matisse and one of the world’s finest museum collections of Surrealism, including works by Dalí, Ernst, Magritte and Miró. Its sub-stantial holdings of American Abstract Expressionism include major works by Pollock as well as Rothko. There is an in depth collection of the Russian pioneer of abstract art Naum Gabo, and an important group of sculpture and paintings by Giacometti. Tate has significant collections of Pop art, including major works by Andy Warhol, Minimal art and Conceptual art. Tate also has particularly rich holdings of contemporary art since the 1980s. Tate Modern’s displays are located on Level 3 and 5, and almost all of the pictures of the collection can be viewed on the website.

Tate Modern is also the home of international contemporary art in the UK, presenting the work of artists working today from around the world. In 2003, Cai Guo-Qiang designed a pyrotechnic work entitled “Mr Ye Who Loves Dragon”. From October 2010 to May 2011, The Unilever Series: Ai Weiwei was shown in the Turbine Hall in Tate Modern. In 2010, Chen Zhen’s works entitled “Cocon du Vide” was added to the Tate Collection.

館藏─內涵

2000年，在改建了倫敦中心廢棄了的電站，泰特現代美術館展示國際現代藝術藏品。所謂現代藝術藏品的分界點是1900年，1900年之前的繪畫作品在國家美術館展出、雕塑在維多利亞與艾爾伯特博物館展出。而泰特現代美術館囊括了對於現代藝術有著傑出貢獻的英國現代藝術作品，所以，那些主要的英國現代藝術家的作品都可以在泰特找到。

泰特現代和當代藝術的館藏囊括了從野獸派開始的所有主要藝術運動的作品：其中包括畢加索、馬提斯；世界上最好的超現實主義作品的館藏，包括達利、恩斯特、馬格利特以及米羅；豐富的美國抽象表現主義的作品，比如波洛克、羅斯科；俄羅斯抽象藝術的先鋒Naum Gabo的作品；賈科梅蒂的代表性雕塑和繪畫；波譜藝術，如安迪·沃霍爾；以及極簡主義和觀念藝術的作品；而20世紀80年代後的藝術作品，泰特也有非常豐富的館藏。 泰特現代美術館也是國際當代藝術在英國的家，當今世界各地的藝術品陳列展示於此。中國的當代藝術也在此展出、收藏。2003年，蔡國強應泰特現代美術館的邀請，完成了他的焰火作品《葉公好龍》。2010年10月到2011年5月，聯合利華系列：艾未未葵花籽在泰特展出。2010年， 華裔藝術家陳箴（1955－2000）的裝置藝術作品《空繭（ Cocon du Vide ）》 被泰特現代藝術美術館永久收藏。

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Everyone’s Contribution: All for OneAs a charity, from an operational level to the constitution of the collection itself, Tate Modern depends on the support of the soci-ety. People can contribute to the work of Tate as interns, volun-teers and through donationof funds and artworks.

Each year, the gallery receives approximately 40% of the run-ning costs from the Department of Culture, Media and Sport. The remaining 60% comes from other sources:

The Tate Fund contributes to the building and conservation of the collection, in order to bring art to new audiences.

Corporate Support Tate also obtains corporate support for some art projects and

大家一起來貢獻─人人為我

作為一個慈善機構，泰特美術館從運營資金到籌建館藏都離不開社會的支持。對於泰特的支持，如同其他美術館，對於人力、物力和財力的支持 。對於人力上，可以申請在泰特實習、或是作免費志願者的工作。而在物力上，可以向泰特捐贈作品、提供保護藝術品的服務或者設備。相比之下，對於泰特財力上的支持，是最直接的方式了。

每年，作為慈善機構的泰特，大約40％的運營資金來自政府。剩下的60％則來源於其他，包括各種捐贈。這60％的資金主要來源於：

泰特基金籌建館藏、保護藝術品、將藝術品通過更多的形式展示給更廣泛觀眾群

團體支持團體支持是指與一些機構的合作，來共同完成一些藝術展示或藝術項目。比如泰特與瑞銀集團（UBS）在泰特現代館藏以及教育方面的合作，聯合利華對於葵花籽藝術項目的支持。

會員、贊助人、捐贈者個人的慈善捐款是泰特美術館的重要收入來源，為泰特提供了更廣泛的活動計劃的同時豐富了泰特館藏。以會員為例，在2009－2010年一年之中，九萬一千名會員為泰特增加了500萬英鎊的收入。而在泰特現代藝術館中，隨處可見捐款箱，在泰特網站上也可以隨時捐款。

貿易活動泰特企業負責泰特美術館的一切商業活動，包括出版物、商店、餐廳，僅2009－2010年一年，泰特企業為泰特贏利300萬英鎊。泰特企業的成功在于為觀眾們努力創造藝術氣息及賓至如歸的氛圍。

programmes. For instance until 2010 the Swiss bank UBS used to donate an undisclosed amount of backing to rehang the perma-nent collection ans sponsored other events as well. Also Unilever belongs to the corporate donors. Most recently, the Unilever Series presented Ai Weiwei’s Sunflower seeds.

Individual Members, Patrons and DonorsThe philanthropic contributions made by individuals are a vital source of income, enabling Tate to present a broad programme and add new works to the Collection. With over 91,000 member-ships, the scheme contributed nearly £5 million to Tate in 2009-10.

Trading activitiesTate Enterprises is responsible for Tate’s commercial activities, including publishing, retail and catering, and in 2009-10 made a contribution of almost £3 million to Tate. The success of Tate Enter-prises rests on its commitment to making visits to Tate enjoyable, and an understanding of and sensitivity to the art and artists Tate works with.

回報社會─我為人 人

泰特現代美術館自建館開始，以多種形式，全方位為回報社會，體現在免費展覽、教育、泰特科研成果、保護藝術作品等方面。

自2000年開館起，日均一萬三千的人流量使得泰特現代美術館成為訪問量局英國第三的免費景點和世界最知名的現代藝術館。通過泰特現代美術館的計劃，館藏以創新的形式展示給世人，加強了更新的藝術形式比如電影、影像的展示，拓展了來自世界各地的藝術涵蓋，通過現場活動更緊密地連結了觀眾。

泰特現代美術館的館藏展是全年免費對公眾開放的，並且定期更換。 幾乎有所的館藏圖片也可以在泰特官網上免費瀏覽。泰特現代美術館有各種適合不同年齡、人群的活動，比如講座、座談會、課程、工作室等：對於學校，也可以申請在泰特開展實地藝術教育活動，鼓勵孩子們獨創的獨立思考能力；對於藝術從業者和教師，也可以在泰特參與其他藝術家的藝術工作之中來豐富他們的藝術經驗。

Returns to Society : One for Al lAs the returns to society, Tate Modern contributes in many differ-ent ways, such as free exhibitions, education, Tate Research, and conservation of artworks.

With an average 13,000 people coming through the doors every day since 2000, Tate Modern has become the third most visited free attraction in Britain and the most popular modern art gallery in the world. Across Tate Modern’s programme, Tate Modern showed works from the Collection in innovative displays, strengthened the presentation of newer art forms such as film and video, expanded horizons to include art from around the world and engaged audiences in new ways through live events.

Tate Modern’s Collections are opened free to the public, but almost every picture of the collection can also be viewed on

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Gabriel Orozco - La DS, 1993. Fonds national d’art contemporain, Puteaux, France. © Courtesy of the artist. Photo: FlorianKleinefenn

Gabriel Orozco - Sleep-ing Dog, 1990 © Courtesy of the artist; Marian Goodman Gal-lery, New York; Galerie Chantal Crousel, Paris; and kurimanzutto, Mexico City

泰特現代美術館的另一個回報社會的方式就是“泰特科研成果”。泰特科研成果著眼於藝術作品，如何保護藝術作品，對於解釋性文本和學術刊物的收錄，以及展覽展示的相關作品。此外，研究成果項目在研究發展博物對策、瞭解泰特觀眾和指定新的服務方針，起到了關鍵的作用。

泰特現代美術館的官方網站也提供了獲取藝術知識的多種方式。每月180萬人的瀏覽量，泰特網站已經讖緯英國最受歡迎的藝術網站。比如講座、採訪的視頻，可以在網站上免費觀看。2010年，泰特更是發佈了“泰特兒童”的網站，在這裡小朋友們可以通過遊戲、電影等多種形式來瞭解藝術、如何保護藝術品、在線創作，讓藝術在稚嫩的心中打下基礎。

Tate Online. Furthermore, there are different events that suit the interests of a broad audience, such as Talks and Discussions, Sym-posia, Courses and Workshops. Tate Modern Schools Programme focuses on the way of encouraging students to think creatively and independently and are carried out with schools around the country. Tate Teachers programme offers teachers, gallery educa-tors and artists the opportunity to work with a practising artist to explore practical and creative approaches to engaging with art works.

Tate Research is yet another way to return society. It underpins the acquisition of works of art, their treatment and conservation, the writing of interpretative texts and scholarly publications, and the creation of displays and exhibitions. Research also plays a key role in developing museum policies, understanding Tate’s audi-ences and planning new services.

Tate seizes opportunities presented by digital media to interact with audiences in new and exciting ways. Audiences have re-sponded by making Tate Online the most popular arts website in the UK, with over 1.8 million monthly unique visitors. The videos of talks, discussions and interviews can be found and viewed on Tate Online. The Tate Kids website was enhanced in 2009, including new games and films. It is designed to make children understand art, teach them about the protection of artworks and let them create their own creative works online.

ConclusionTate Modern is a great example of the functioning of British charity: all for one and one for all. What Tate Modern receives through funding and donations, in returns even more to society through an impressive collec-tion and a vibrant culture of projects and events.

結語

從泰特現代美術館，我們所能看到的，其實是整個英國慈善藝術機構的運營模式─人人為我，我為人人。在收到了多方的捐贈、資助的同時，泰特現代美術館，更多考慮到的是如何回報社會。從另一個角度來說，每個捐贈者，都會從自己的捐贈當中獲得切實的收穫。

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Outside view of Barbican Art Centre巴比肯藝術中心外景

BARBICANART CENTRE

BRINGING ALL KINDS OF ART FORMS UNDER

THE ONE ROOF

WRITTEN 撰文 x HARRY 劉競晨PHOTOGRAPHY 攝影 x SHU YIFEI 舒逸飛, ZHANG JING WEI 張靖威

LI MEI 李梅, MARGARITA MONER LOPEZBY COURTESY OF 圖片提供 x BARBICAN ART CENTRE 巴比肯藝術中心

海納百川 有容乃大巴比肯藝術中心

The Barbican Art Centre is Europe’s largest multi-arts and conference venue presenting a diverse range of art, music, theatre, dance, films and education events. In the last decade, the Barbican Art Centre has undergone a radical transformation bringing all the art forms under one roof and finally fulfilling its true potential, to present wide-ranging international programme and multi-arts festivals, which break down the traditional art form bounda-ries. Now the Barbican Art Centre is not only a charming and unique art space but also a powerful art brand.----------巴比肯藝術中心坐落在英國倫敦的市中心，它是目前歐洲最大的多媒體藝術中心，中心包括了當代繪畫、電影、試驗音樂、交響樂、歌劇以及舞蹈等眾多藝術形式。巴比肯藝術中心建立29年以來，堅持一條兼容並包、海納百川的發展路線，依靠一支嚴謹高效的管理團隊，將巴比肯藝術中心建設成為了一個散發著獨特藝術魅力和強大影響力的藝術品牌，來自世界各地的各種不同的藝術形式和藝術作品都在這裡呈現給大家，給觀眾帶來前所未有的藝術震撼。

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巴比肯藝術中心 基 本情況

中心包括1949個座位的巴比肯音樂大廳，1166個座位的巴比坎劇院，200個座位的階梯形劇場，3個電影放映廳，1393平米的巴比坎藝術畫廊，外加一個曲形畫廊The Curve ，4645平米的公共休息空間，還有一個熱帶植物園，7個會議廳，2個商業展覽大廳，以及3家餐廳。

鳳凰涅磐

巴比肯地區的歷史和整個倫敦的歷史一樣久遠，從歷史上就是多災多難一個地區，曾經歷史上的黑死病奪走了這個地區當時4/5人口的生命，在倫敦大火中這個區域也是受災最為嚴重的地區，最為徹底的就算是第二次世界大戰了，在德軍的狂轟亂炸之下，除了附近的聖保羅大教堂神奇的幸免遇難，其余周圍的建築均被夷為平地，直到1951年，在巴比肯地區都很少有人居住。雖然巴比肯地區的歷史一直伴隨著磨難但是這個地區卻從歷史上就一直有與藝術聯姻的淵源，因為這個地區歷史以來就是人口稠密且混亂不堪，於是就成了哪些不能容於道德和普遍社會規範的那些異教徒的聚居地，很多演員、詩人，小說家，劇作家都曾經在這個地區居住過，最為著名的應該就算是偉大的劇作家威廉・莎士比亞了。

直到60年代，在整個西方世界經濟開始復蘇的時刻，藝術領域也充滿了新的試驗和探索，在這樣的背景之下，建立巴

Data of the Barbican Art CentreThe Centre comprises the 1,949 seat Barbican Hall, the 1,166-seat Barbican Theatre, the 200-seat Pit theatre, 3 cinemas, the 1,393 m2 Barbican Art Gallery, a second gallery; The Curve, 4,645m2 of foyers and public spaces, the Lakeside Terrace, a roof-top tropical conservatory, 7 conference suites, 2 trade exhibition halls, private function rooms and 3 restaurants.

A Phoenix from the AshesThe Barbican has a history almost as old as London itself. It was first built by the Ro-man invaders to protect what was for them a new settlement by the river. Within, in the area of the city just south of the Barbican, lived Martin Frobisher, Lancelot Andrews and Thomas More. The area of Cripplegate beyond the wall was in comparison considered to be insalubrious and incommodious. In the 16th century it became the natural home for thieves and receivers of stolen goods. It was a microcosm of Elizabethan ‘low life’ and became the haven for nonconformists of every description. It was also a home for actors. William Shakespeare lived here at the corner of Monkwell Street and Silver Street. Ben Johnson lived for a period in the Parish of St. Giles. Grub Street was perhaps the most famous of the Barbican streets, and it has remained in the popular imagination ever since it was described by Samuel Johnson as ‘much inhabited by writers of small histories, dictionaries and temporary poems.

The Barbican, a populous and ramshackle area, was bound to be a victim of all

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比肯藝術中心的提議誕生了，整個計劃一波三折，直到1971年，巴比肯中心才正式破土動工，經過11年的建設，中心於1982年3月3日由英國女王剪彩正式用。就這樣，一個獨特的集中了住宅、藝術學校、藝術畫廊、劇院、電影院、人工湖泊、植物園等設施的龐大的具有“野獸派”視覺風格的建築群落誕生在這片曾經二戰遺留下來的焦土之上。

經過了29年的輝煌歷程，巴比肯中心已經成為了歐洲最大最為活躍的多媒體藝術中心，他們一直堅持一個獨特的藝術理念--“將全世界範圍內的各種各樣的藝術門類都集中在同一個屋檐下。”而且最為難能可貴的是，巴比肯中心確實以它的實際行動來證明和實踐著他們的信念，通過具有國際視角的專業策展團隊，他們完成了許多難以想象和繁瑣異常的工作，將全世界的各種藝術形式展現在觀眾面前，你可以欣賞到倫敦交響樂隊演奏的莫紮特的經典作品，同時也可以欣賞到來自非洲土著部落帶來的原始音樂；你可以在這裏欣賞到大眾流行的哈裏波特系列電影，也同樣可以欣賞到來自巴基斯坦的影像試驗作品。

正如巴比坎藝術中心總經理尼古拉斯・凱尼恩先生所說的：“我希望巴比坎中心可以成為倫敦跳躍的心臟，一個刺激，新鮮並且充滿著冒險的地方，它所具有的魅力將沖破一切桎梏遠播各處，不論你是在倫敦工作，生活還是短暫的來訪，我想你都會發現巴比坎中心和它的藝術家夥伴們一直在致力於把最新的藝術介紹給你，震撼和挑戰你的感官，使你感受到偉大的藝術時時刻刻沖擊著你的生活和我們的時代。”

epidemic disorders that swept across the city. The Great Plague killed some 8,000 out of a population of 11,000 and the Great Fire swept as far north as Smithfield. It slowly grew more ruinous and dilapidated and then in the 20th century was destroyed by German.

By 1951 only 58 people lived in the entire ward. Only in 1952 did plans for redevelopment begin. So the Barbican has been a neighborhood of actors and of writers as well as the home of vice, disease and fire. It has been an asylum for refugees and outcasts. It has, in a word, been London. Like the legendary Phoenix, the Barbican rose from the ashes. The idea of the centre was born in the 1960s, an era of renewed optimism and fresh ideas, and an exciting time for the arts. New architectural styles were emerging, including the ‘brutalism’ that characterizes the Barbican as a whole. The concept of the centre grew organically – for example, what was originally intended to be a small recital room evolved into the large Barbican Hall we have today.

The construction did not begin in earnest until 1971. Indeed, it came close to not happening at all. The City of London’s Court of Common Council spent its longest sitting on record deciding whether or not to proceed with the project. The architects, Chamberlin, Powell and Bon, were appointed initially to design the residential areas. While they produced an interesting plan, it be-came apparent that they had never before designed even a cinema, let alone a theatre or concert hall. Their proposals for the cinema included placing the screen on the ceiling and having the first few rows of the audience lying on their backs on what looked like a series of beds. The final cost of building the centre was £156 million; to build it today would require a staggering £500 million.

Outside view of Barbi-can Art Centre巴比肯藝術中心室外景觀

巴比肯藝術畫廊

巴比肯藝術畫廊位於巴比肯中心的第三層，1999年，視覺藝術被充分的融合入巴比肯藝術中心，2004年，巴比肯耗資一百萬英鎊用於裝修用於視覺作品展示的畫廊，使其適用於展示攝影，建築，以及多重學科的陳列和展示。

所有在巴比肯藝術畫廊展出的展覽，都是經過巴比肯藝術中心精心策劃的精致展覽，單單從整體的布展水平來說，巴比肯中心的布展水平應該是在倫敦數一數二的，甚至超過泰特當代美術館的布展水平，每次在中心展出的展覽，都可以看出策展團隊精心策劃和別具匠心的展覽安排，各種細節體現出的不僅僅是高水平國際合作的效率和默契和諧程度，同時體現著精益求精的專業精神，對於每個展覽，都配以大量的教育講座活動，邀請著名藝術家和批評家為觀眾講解展覽的時代背景或專業知識，另外每個展覽也會配以大量的文字介紹以及畫冊，引導觀眾更好的理解展覽的主題和更好的欣賞作品，甚至可以說，展覽本身和作品本身只是作為一個線索和引導，而圍繞展覽所開展的活動和講座才是構成整個展覽的主要組成部分。

自從1999年以來，巴比肯中心開始註重當代視覺藝術的引入以來，在巴比肯藝術畫廊已經展出了很多世界各地優秀藝術家的作品，他們大多是在一個新的主題和新的背景之下來選擇藝術家以及他們的作品，從一個新的角度展示給觀眾，不得不說，巴比肯中心所作出的改變是極其成功的，在近10年來，它把眾多的優秀藝術作品和展覽引進英國，讓不論在此學習或者生活，或者只是短暫遊覽的人們都可以欣賞到來自世界最為前衛的藝術作品。

Barbican Art GalleryIn 1999, under the direction of John Tusa and Graham Sheffield, the visual arts were fully integrated into the Barbican Centre. As well as demonstrating its increasing commitment to contemporary art in the last ten years, Barbican Art Gallery (BAG) has also carved a distinct identity through its programming of innovative architecture, design and photography exhibitions. 2000 saw the launch of BAG’s international touring programme. Today, Barbican exhibi-tions travel the world, from Beijing to Bristol, Chongching to Chicago, taking a unique range of exhibitions to a global audience.

The curating team uses their talent to set up every exhibi-tion to create a fantastic experience to audiences, such as the exhibition of The House of Viktor and Rolf, they built a huge doll house to display the designers’ works. Around every exhibition, there are many talks and events, which related to it aim to help audiences to understand of the conversation of the exhibition.

From the 1999, the Barbican has paid more attention on the international contemporary art, and the Barbican Art Gallery presents major exhibitions by leading international figures, from acclaimed architects, to Turner prize-winning artists.

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Cory Arcangel Beat the ChampⒸEliot Wyman.

Curve Art SpaceCurve Art was launched in 2006 with a programme of new commissions conceived by international contemporary artists in response to The Curve’s distinctive interior, an unusual 100 metre long semicircular space that wraps around the concert hall.

On 2008, Chinese artist Huang Yongping was invited to create works for the curve space, that exhibition was Huang’s first solo show in London. He created a new installation that explored the complex imperial history between Britain and China in the 19th century, focusing on the Opium Wars. The exhibition took its title Frolic from the name of a ship built to transport goods between

巴比肯曲形空間

1999年曲形空間，半圓形的100米長的展線，成為巴比肯中心的第二畫廊空間。在這個較為怪異的展示空間裡展示的作品一般都是目前最為活躍的來自世界各地的藝術家的個人展覽，很多都是巴比肯藝術中心邀請藝術家為這個空間量身定制獨特的藝術展覽，同樣，藝術家們也把在這個獨特空間進行展示的機會作為展示自己創作才華的最佳舞臺，展廳中從天花板到墻壁再到地板，都成了藝術家揮灑創作激情的戰場，在此展出的每一個展覽都給人以無比的震撼和沖擊。

在2008年，中國藝術家黃永砯曾經受邀請來到巴比肯曲形空間創作作品，那也是他第一次在英國倫敦舉辦的個人作品展。黃永砯深受西方藝術影響，尤其是達達主義的影響，

British India, China and Great Britain, and as such serves as an allegory for modern-day global capitalism.

The current exhibition is the work of American artist Cory Arcangel, one of the leading media artists of his generation. He often appropriates, manipulates and subverts new media, including video games, computer software and the inter-net. Arcangel’s project for The Curve, a co-commission with Whitney Museum of American Art, is an installation featuring 14 bowling video games from the 1970s to the 2000s. Using custom manufactured electronics, Arcangel has hacked each unit to play a loop of a game in which the bowler fails to score. Presented chronologically, the games collectively create a collage of sound from the abstract static of Atari to Nintendo’s bleeps and bloops to the more realistic simulation of bowling sounds of recent PlayStation consoles. Arcangel also dis-plays the video game console themselves, each with a small computer chip attached, flickering at one end of the darkened gallery. Arcangel’s digital interventions are particularly relevant in an age where technology is ever more important. Often brightly coloured and at first glance uncomplicated, his works consistently question the relationships between contempo-rary culture, art and technology.

Barbican Art CentreCurve Art Space巴比肯曲形空間

他的作品多為大型的裝置藝術品和雕塑作品，他運用當代西方藝術概念和語言來闡釋和體現東方傳統美學與哲學命題，自從1989年之後，黃永砯移居法國巴黎，在法國進行藝術創作期間，其著重探討文化差異、身份認同、和殖民主義等歷史主題，並對其進行思考和批判。

黃永砯的展覽只是在曲形空間的一個比較典型的，個人風格獨特的展覽範例，更多的藝術家包括光學藝術、試驗影像藝術等領域的藝術家都利用這個空間來展示他們與眾不同的藝術作品，同樣，巴比肯藝術中心始終都是給與藝術家最為開放、便利的條件幫助他們把不同的藝術呈現給廣大觀眾，並引領觀眾走入藝術的世界。

當下正在進行的展覽是美國傑出多媒體藝術家Cory Arcangel的作品，他這次為曲形空間制作的作品是由14個保齡球電子遊戲組成的，他選取了從1970年到2000年來出現的14款保齡球電子遊戲，一方面體現了和藝術家同齡時代的時代特色，同時也體現了科技在這30年間的巨大飛躍和對人們日常生活產生的巨大影響。作為當下最具代表性的多媒體藝術家，Cory Arcan-gel認為日新月異的科技對當下大眾生活的影響超越了以往任何一個時代，他始終不渝地探討關於科技， 生活，當代文化與當代藝術之間的相互關系。

The House of Viktor & RolfExhibition

巴比肯藝術畫廊開放時間周一、五、六、日：11.00am – 8 .00pm 周二、周三：11.00am – 6 .00pm周四：11.00am – 10.00pm

Barbican Art Gallery opening timeDaily: 11.00am – 8.00pm Tue & Wed: 11.00am – 6.00pm Barbican Art Gallery is open late every Thu until 10pm.

Tips 小貼示

The Curve Opening HoursDaily 11.00am – 8.00pm Thu until 10pm.

曲形空間開放時間每日：11.00am– 8.00pm

周四：11.00am – 10.00pm

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一些評論

衛報：“巴比肯藝術中心總是帶給我們豐富精彩的特別體驗。”

泰晤士報：”今天的巴比肯藝術中心已經成為世界頂尖的藝術中心，其獨有的冒險精神和持續的卓越質量大大超過了紐約的林肯藝術中心。”

巴比肯中心執行總監： “我希望巴比肯中心成為倫敦中心一顆具有勃勃生機的心臟，將更多的新鮮事物，激情和冒險精神帶入我們的生活。”

“2012年的倫敦奧運會為這座城市帶來了新的機遇，感謝那些一直以來給予我們幫助和支持的人們，我們將與新一代的藝術家和創意天才們共同創造，讓我們的藝術更加繁榮。”

Some Comments‘A building where there is always something rich and strange going on.’ The Guardian

‘Today, the Barbican must rank as the world’s top arts centre, easily outclassing the Lincoln Centre in New York for adventurous programming and sustained quality.’ Richard Morrison, The Times

Sir Nicholas Kenyon, Managing Director: “I want the Barbican to be the beating heart of the City of London, a place of stimulation, refreshment, and adventure which reaches out beyond the confines of its walls to involve those within the Square Mile and far beyond. “

“As London looks east in the years to the Olympics of 2012, there is a huge opportunity for the Barbican, the City and the arts. Thanks to the constant support of the City of London Corpora-tion and our other funders, sponsors and donors, we can insure that the place of culture dur-ing that important period is both recognised and celebrated. There are extraordinary talents and skills emerging in a new generation of creative artists and performers: let’s make the most of them, support them, and make the arts flourish! “

THE STAR OF THE SOUTHBANK

HAYWARD GALLERY

南岸之星海沃德畫廊

WRITTEN 撰文 x HARRY 劉競晨PHOTOGRAPHY 攝影 x MARGARITA MONER LOPEZ,

MEI LI 李梅, JINGWEI ZHANG 張婧威 BY COURTESY OF 圖片提供 x HAYWARD GALLERY 海沃德畫廊

SPECIAL FEATURE

Outside view of Hayward Gallery海沃德画廊外景

The Hayward Gallery is an art gallery within the Southbank Centre, part of an area of major arts venues on the South Bank of the River Thames, in central London, England. It is sited adjacent to the other Southbank Centre buildings (the Royal Festival Hall and the Queen Elizabeth Hall/Purcell Room) and also the Royal National Theatre and British Film Institute. Now, Hayward Gallery is one of London’s most important spaces for displaying contemporary art and which has organized many blockbuster exhibitions.----------位於倫敦市中心泰晤士河南岸的海沃德畫廊（Hayward Gallery）是南岸藝術中心 (The South Bank Centre)的重要組成部分。這個占地近11公頃的藝術機構群落包括了皇家節日大廳 (Royal Festival Hall),伊麗莎白女皇大廳 (Queen Elizabeth Hall), 皇家大劇院 (Royal National Theatre), 英國電影研究院 (British Film Institute) 還有本文將要著重介紹的海沃德畫廊（Hayward Gallery）。海沃德畫廊現在是倫敦最為重要的當代藝術展示場地之一，他將藝術的學術性和娛樂性融為一體，每年都有數以百萬計的觀眾前來參觀。

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融化在藝術與歡樂之中

海沃德畫廊是個神奇的地方，它可以喚起人們對藝術的熱愛。提到海沃德畫廊，人們腦海中呈現的景象不是那些晦澀難懂的名詞，也不是那些看不明白的古怪物件兒，而是一幅幅生動活潑的畫面—沈浸在奇幻的藝術世界的愉悅。

海沃德畫廊舉辦的展覽不同於其他展館的最大特色就是它獨具匠心的將展覽的藝術性和娛樂性最大化的結合起來，使得前來參觀的觀眾能從各個角度與藝術作品產生互動，從而拉近了藝術作品與觀眾的距離，枯燥晦澀的文字闡釋在這裡失去了意義，取而代之的是藝術的體驗和心靈的震撼。比如在海沃德畫廊成立40周年舉辦的展覽“瘋子建築”（Psycho Buildings)就是一個很好的例子，藝術家們通過為海沃德畫廊量身定做的作品營造了一個如夢如幻的境域，讓觀眾在潛移默化中感受到藝術的感染力，同時正向海沃德畫廊總監拉夫 · 洛戈夫（ Ralph Rugoff ）說得那樣，“海沃德的展覽向全世界展示了我們畫廊是怎樣一個讓人興奮而且好玩，充滿無限可能的空間。”此外，在今年3月中旬，適逢威廉王子大婚之前，海沃德舉辦了一個名為“皇家生活”的展覽，展出了很多和皇室相關的藝術作品，其中不乏惡搞和諷刺的作品，表達了英國廣大民眾對英國君主立憲制度和皇室扮演的社會角色變化的大討論。

Melting Aart with FunHayward Gallery is a magical space, which immediately evokes the love of art when you visit it. And if you mention the Hayward Gallery to people, what comes to their mind is a vivid and clear picture of a place where you can playfully immerse in the fantastic world of art.

The most distinctive feature of Hayward Gallery，which is quite different from other art organizations, is that its exhibitions combine art with entertainment. Most of the exhibitions of the Hayward Gallery allow the audience to directly interact with the art works and view them from very different angles. This helps to build up a special relation between audiences and the exhibited works. For example, in 2008 the exhibition “Psycho Buildings” brought together the work of artists who created habitat-like structures and architectural environments that were perceptual and physical spaces as much as psychological ones. People immersed in different atmospheric, enthralling and unsettling installations that redefined the way that we relate to our surroundings. Visitors became an adventurous participant by exploring the Hayward Gallery’s spaces, which included a room that seemed frozen in a moment of explosive disaster, an eerie village of over 200 dollhouses, a floating plastic cloud and a skyline boating pond. Ralph Rugoff，Director of the Hayward Gallery and curator of the exhibition said that ‘The extraordinary international artistic response to Psycho Buildings shows just how challenging, exciting and playful The Hayward can be.’

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海沃德圖書館

在海沃德畫廊裡面，還有一個不為外人熟知的小圖書館，這個圖書館雖小，歷史卻很久遠，最早是大英藝術委員會在1940年創建的視覺藝術圖書館，後來在1987年成為現在的海沃德圖書館。這個圖書館的主要用途是為展覽策展人和藝術研究人員提供資料，包括了當代的藝術家、展覽、建築、攝影和相關藝術批評理論。不過，這個小圖書館必須要提前預約才能進入。

Hayward Gallery Library The Hayward Gallery Library is a small reference library, which is reflecting the research needs of the exhibition curators, acquires contemporary material on artists, exhibitions, architecture, photography and art critical theory. The emphasis of the library is on modern and contemporary art, also, there is a small quantity of historic material. The library is able to offer public access as a last resource reference library for consultation by appointment only. The library catalogue is accessible online for staff and will shortly be accessible on the web.

圖書館主要館藏

20，000本圖書和畫冊;46種視覺藝術期刊;

1942－1993年的大英藝術委員會出版物;

海 沃 德 畫 廊 展 覽 畫 冊 及 資 料，包 括 展 覽 評 論，海 報，

照片及影像等。

Library Collections

20,000 books and exhibition catalogues; 46 periodical titles; 1942-1993 Core archive collection of own exhibition publications, Arts Council of Great Britain, Arts Council Collection; Hayward Touring Exhibitions and the Hayward Gallery art exhibition catalogues to date; Archive collection of posters, press reviews, exhibition ephemera.

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Night view of Hayward Gallery

海沃德画廊夜景

Juggla, 2007 Robin Rhode

BRITISH ART SHOW 7In the Days of the CometThe British Art Show is widely recognised as the most ambitious and influential exhibition of contemporary British art. It takes place every five years and tours to four different cities across the UK. Now in its seventh incarnation the British Art Show opens in Nottingham, and tours for the first time in 20 years to the Hayward Gallery, followed by venues in Glasgow and Plymouth. It is curated by Lisa Le Feuvre and Tom Morton.

The 39 selected artists have been chosen on the grounds of their significant contribution to contemporary art in the last five years. All artworks included have been produced since 2005 and encompass sculpture, painting, installation, drawing, photography, film, video and performance, with many artists creating new works especially for the exhibition. British Art Show 7 will mark a change in direction from previous years, moving away from the model of a survey show to an exhibition with a marked curatorial focus.

Subtitled In the Days of the Comet, British Art Show 7 employs the motif of the comet to explore and draw together a set of concerns that thread their way through the practices of the selected artists. Here the comet alludes to the measuring of time, to historical recurrence, and to parallel worlds. Comets are also commonly understood as harbingers of change, and fittingly the exhibition will evolve as it moves from city to city, revealing new works at different venues, creating a unique exhibition in each host city.

SPECIAL FEATURE

Steven Claydon Untit led

Work of Charles Avery

Roger Hiorns Untit led

第七屆英國藝術展－在彗星上的日子

每五年舉辦一次的英國藝術展(British Art Show)被廣泛的認定是最雄心勃勃並最有影響力的英國當代藝術展之一。今年的英國藝術展在伯明翰開展，隨後在倫敦的海沃德畫廊進行巡展，這也是20年來海沃德首次和這個展覽項目進行合作。在結束倫敦的巡展後，展覽將到格拉斯哥和普利茅斯進行展出。

此次參展的39名藝術家都在過去的五年裡為當代藝術的發展作出了重要的貢獻。所有參展的藝術作品都是從2005年以來創作的，包括雕塑、油畫、裝置、繪畫、攝影、電影、影像及行為藝術作品，而且很多參展藝術家專門為此次展覽量身定做了新的作品。而且，此次展覽從策展方向上也異於往年，今年的展覽更多的將展覽中心聚焦在特定的主題和語境之內。

這次展覽名為“在彗星的日子”(In The Days of The Comet),“彗星”作為展覽的主題,象征著一種對改變的預示、一次對平行世界的探索、一項對時間的測量和一個對真實和想象歷史重演的標記。參展的作品以不同的形式呈現了藝術家對“此時此刻”的思考和我們對於“當下”的理解。同時,隨著展覽巡回於各地,舉辦方希望“彗星”作為一個持續運行的載體,將此概念繼續溶解、擴散、消化於每個展出的城市。

海沃德畫廊名字的由來

海沃德畫廊成立至今已經經歷了43個春秋，1968的7月9日，英國女王陛下為其開幕式

剪裁揭開了它近半個世紀的風雨歷程。海沃德畫廊的名字是為了紀念當時的倫敦郡地

方議會長艾薩克海沃德爵士（ Sir Isaac Hayward ），當年海沃德的開館展是亨利·馬蒂

斯的繪畫作品回顧展。

Something about its history

The Hayward Gallery is named after Sir Isaac Hayward, the then leader of the London County Council. On July 9th 1968, the Hayward Gallery was opened by the Queen and its first exhibition was a major retrospective of the paintings of Henri Matisse.

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National Gallery is located in the north of Trafalgar Square, London. Now it is one of the most important art Museums in the world and houses a collection of over 2,300 paintings dating from the mid-13th century to 1900. Unlike the Tate Modern, The National Gallery focuses on the traditional collections of works before the 20th century. The National Gallery was founded in 1824 and now it is as famous as the Louvre in Paris, Madrid Prado Museum.----------坐落於倫敦市中心特拉法加廣場北側的英國國家藝廊是英國最為重要的藝術博物館，其中收藏了從13世紀至19世紀多達2300件的繪畫作品，和泰特當代美術館（Tate Modern）不同的是，國家藝廊側重於傳統繪畫及20世紀之前的作品收藏和整理。這座建立於1824年的美術館憑借其收藏的西歐早期繪畫大使們的傑出作品而成為了與巴黎盧浮宮，馬德裏普拉多美術館相齊名的重要藝術博物館。

GALLERY FOR ALL PUBLIC

NATIONAL GALLERY

英國國家藝廊公眾的美術館

WRITTEN 撰文 x FAN ZHANG 張凡PHOTOGRAPHY 攝影 x MEI LI 李梅

BY COURTESY OF 圖片提供 x NATIONAL GALLERY 英国国家画廊

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Outside view of National Gallery英国国家画廊外景

歷史

國家畫廊的基礎館藏從1824年的57,000英鎊開始，這筆不期而至的款項是奧地利支付給英國的戰爭債務，當時的英國議會下院批準這筆撥款，用於從俄羅斯的一位銀行家手中購買38幅作品，由此開始了國家畫廊收藏之路。這些館藏，在被收購的那一年就已直接面向公眾展出，展覽地點位於帕瑪街，就是出售它們的前任主人的住宅。隨著藏品的增加、公眾的批評，甚至媒體的嘲弄，1831年，議會決定為這個規模越來越龐大的國家級美術館專門修建一棟大樓，選址特拉法爾加廣場。把美術館建於倫敦中心地帶，充分體現了創始人“通過博物館來教化公眾”的決心，無論是來自倫敦西部的富人，還是住在倫敦東部的貧民，甚至只是路過這裏的觀光客，都可以非常方便地進入參觀。經過7年的修建，時至1838年，維多利亞女王親自主持了國家畫廊新樓的開館儀式，當時它還和皇家藝術學院共用這座建築，國家畫廊在西側翼樓，皇家藝術學院占據東側翼樓，直至其1868年遷出。

為了保證充足的展覽空間，從落成至今，國家畫廊一直在斷斷續續地擴建，其中比較主要的工程共有5次。在最初的國家畫廊落成後不久，因為威廉·威爾金斯最初設計的大樓遭到公眾批評，建築師E·M·巴裏在1872年受命制定重建方案，經過討論後，決定保留已有建築，再新建一處翼樓，增加了一系列展廳。1907年至1911年，因為西側翼樓被兵營征用的原因，國家畫廊又為不斷增加的畫作收藏增建了5個展廳的新空間。經過一戰與二戰時期的蕭條，國家畫廊於1970年起再次大興土木，雖然新建的北側翼樓因風格太過現代而不受歡迎，但在實際應用上，卻使美術館的面積增加了25%，新館包括9個大型展廳和3個小型展廳。1991年，國家畫廊新修建了

HistoryThe National Gallery collection was founded from the beginning of 1824 with £57,000, which was from an unexpected repayment of a war debt by Austria. The British government bought Angerstein’s collection, which numbered 38 paintings, including works by Raphael and Hogarth’s Marriage à-la-mode series. Those collections were opened to the public on the 10 May 1824, housed in Angerstein’s former townhouse on No. 100 Pall Mall. The National Gallery at Pall Mall was frequently overcrowded and hot, and its diminutive size, in comparison with the Louvre in Paris, was the cause of national embarrassment. But Agar Ellis, now a trustee of the Gallery, appraised the site for being “in the very gangway of London”; this was seen as necessary for the Gallery to fulfill its social purpose. Subsidence in No. 100 caused the Gallery to move briefly to No. 105 Pall Mall, which the novelist Anthony Trollope described as a “dingy, dull, narrow house, ill-adapted for the exhibition of the treasures it held.” This in turn had to be demolished for the opening of a road to Carlton House Terrace.

In 1832 construction began on a new building by William Wilkins on the site of the King’s Mews in Charing Cross, in an area that had been transformed over the 1820s into Trafalgar Square. The location was a significant one, between the wealthy West

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Admiral Horatio Nelson’s flagship on Fourth Plinth

Van Gogh- Sunflower梵高《向日葵》

FundingFundraising is a key issue for all of the Museums, the National Gallery has had much major expenditure, such as collection storage, exhibition costs, study of the collection and so on. How to obtain sufficient funding to maintain operations and how to improve the collections are the questions which The National Gallery have had to face. In the National Gallery’s collection, the proportion of individuals’ donation is close to 25%, which means that National Gallery continually increases its collections outside the national grants.

資金國家畫廊的主要開支，用於藏品保管、藏品使用、展覽花費和藏品研究等幾個方面，如何獲得足够的資助來維持運營，和怎樣通過收購來保證藏品的活力，是每一間國家級美術館都要面臨的重大問題。在國家畫廊的收藏中，個人捐贈或遺贈所占比例接近四分之一，使其在國家劃撥的補助金之外，還能不斷增加優質藏品。在國家畫廊的發展歷史上，1903年成立的藝術基金會為其做出了很大的貢獻，它的宗旨就是幫助英國國內的博物館和美術館收購藝術作品，如1905年，它籌資45,000英鎊幫助國家畫廊收購貝拉斯克斯的《鏡中的維納斯》。私人捐助方面，1923年，塞繆爾·考陶爾德捐出5萬英鎊，用於英國國家藏館購買印象派和後印象派作品，國家畫廊收藏的核心作品之一，梵高的《向日葵》便是用這筆捐資收購的。1985年，慈善家小J·保羅·格蒂設立了一個捐資基金會，它的主要目的便是幫助這一間國家美術館收購更多的藝術品。

翼樓，專門展出文藝復興初期的全部館藏，這座嶄新建築依據其捐資人的姓氏，被命名為“塞恩斯伯裏翼樓”。國家畫廊最近一次的大力度整修開始於2003年，為了配合特拉法爾加廣場新建的步行區，其主樓入口首次與公共街道齊平，在這一次的開發中，新建了多媒體區、商店、餐館和咖啡廳等觀眾服務設施，中央大廳也被設為展廳，展出館藏中最重要的作品，擴大了作品的懸掛空間，讓初來乍到的觀眾，一進門就能看到提香及同時期其他藝術家的偉大畫作。

End and poorer areas to the east. The argument that people of all social classes could access the collection outstripped other concerns, such as the pollution of central London or the failings of Wilkins’s building, when the prospect of a move to South Kensington was mooted in the 1850s. According to the Parliamentary Commission of 1857, “The existence of the pictures is not the end purpose of the collection, but the means only to give the people an ennobling enjoyment.” The eastern half of the building housed the Royal Academy until 1868, which further diminished the space afforded to the Gallery.

Outside view of National Gallery英国国家画廊外景

Rembrandt-self-portrait at 34倫伯朗《34歲的自畫像》

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組織結構

在經營方面，國家畫廊由英國首相認命的托管理事會負責管理。這是一個獨立的組織，托管人需要擁有廣博的專業知識。為了日常運營的順暢，國家畫廊還有超過600名的職員負責藏品的保管、研究、展示、宣傳、觀眾服務與公共教育等工作。為了保證珍貴的藏品可以得到最好的保護，1946年，國家畫廊成立了一個內部的藏品保護部，在過去的數年之間，這個部門率先采用多項新技術來精確控制美術館的環境，做出防止作品變質的處理，時至今日，很多技術已經發展成了行業標準。

OrganisationThe Gallery is governed by the Board of Trustees who are appointed by the Prime Minister. The Director and Executive Committee represent 19 departments, covering all aspects of the Gallery’s work. The National Gallery employs over 600 staff in a wide range of capacities to care for the collection.

特色展品

國家畫廊收藏的畫作來自歐洲各地，涵蓋了13世紀至20世紀早期的所有藝術時期。從祭壇裝飾畫、早期繪畫大師的肖像畫，到印象派的油畫速寫，可以毫不誇張地說，西歐最傑出的藝術畫作，國家畫廊都有所收藏。按藏品的年代分類，國家畫廊的畫作主要可以分為以下四個階段：

1250年~1500年。1991年建成的塞恩斯伯裏翼樓，拱門和墻壁采用深灰色的石材和白石膏為建築材料，素雅的環境帶有佛羅倫薩文藝復興時期的教堂遺風，陳列其中的，正是國家畫廊收藏中的重頭戲，文藝復興時期的意大利畫作。這裏的眾多古老藏品，都帶有濃厚的宗教色彩，例如佛朗西斯卡的《基督受洗》和波提切利的《維納斯與馬爾斯》。

1500年~1600年。這一時期包括畫壇三傑達芬奇、米開朗基羅和拉斐爾，以及風格活潑的威尼斯藝術家，還有亨利八世時開始的宮廷肖像畫創作。相比之下，畫壇三傑的畫作重視草圖和計算，而威尼斯的藝術家們側重於色彩而非線條的處理。國家畫廊的收藏，包括達芬奇的《巖間聖母》、米開朗基羅的《埋葬基督》和拉斐爾的《教皇朱利阿斯二世》等名作，此外，提香的《酒神與阿麗亞德尼》堪稱國家畫廊中色彩最鮮艷的作品，在此之前，從沒有過如此生動活潑的非宗教神話畫作。

1600年~1700年。在這一百年中，藝術呈現爆發式的發展。國家畫廊北翼收藏的荷蘭畫作，顯著地表現了當時新教興起的影響。很多的城市景觀畫不斷湧現，如克伊普的《騎士、農人、河岸風光》，用牛、女工、獵人和騎士，取代了聖人而占據畫面。此外，國家畫廊還有多幅倫伯朗的精品，包括《34歲的自畫像》、《63歲的自畫像》等，這兩幅自畫像把他不同時代的不同心境描繪得淋漓盡致，在創作上相隔20年，國家畫廊通過10年的時間把這兩幅畫像湊到一起，由此可以窺探到管理者的良苦用心。

1700年~20世紀。這一時期的作品裏，宗教主題占據的比重越來越小，世俗題材成了市場的主導。從洛可可風格，到新古典主義、浪漫主義和印象派，繪畫的風格在傳承的基礎上不斷創新。在國家畫廊關於這一時期的展廳中，畫作不再充斥著意大利與荷蘭的作品，英國和法國的畫作逐漸成為主流。梵高的《向日葵》、莫奈的《格爾奴葉的浴者》等作品，都是觀眾進入國家畫廊參觀時的必看精品；雖然後來建成的泰特美術館陳列著大部分的英國美術作品，但國家畫廊還是精中選精地留下了一些英國畫派的傑出作品，如康泰斯布爾的《玉米田》。

開放時間

每日10am – 6pm，

周五10am – 9pm

1.關於建 築：因為預算太高，國家畫廊主樓的第一 位設 計師

威爾金斯，被要求使用從喬治四世住宅卡爾頓莊園中拆除的

立柱，和大理石凱旋門剩下的雕塑作品。

2.二戰期間，國家畫廊曾轉移藏品並閉館。雖然在宣戰的前

一天，最後一批藏品才撤離館內，也曾有提議將藏品轉移到

加拿大，但當時的首相丘吉爾堅定地說“一件也不能離開英倫

群島”。於是大部分的藏品被轉移到威爾士的一處采石場。

3 . 目 前 國 家 畫 廊 大 約 有 2 , 3 0 0 件 以 上 的 藏 品 ，每 年 約 有

4,500,000位觀眾。

Opening timeDaily 10am – 6pm, Fridays 10am – 9pm

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CollectionsThe National Gallery collects paintings from all over Europe, covering the 13th century to early 20th century all the arts period, from decorative paintings from the altar, Old Master portraits and Impressionist paintings. It is no exaggeration to say that the National Gallery has the most outstanding collection of art paintings in Western Europe.

1250－1500. Piero della Francesca - Baptism of Christ; Sandro Botticelli - Venus and Mars.

1500－1600. Leonardo da Vinci - Madonna of the Rocks; Michelangelo – Entombment ; Raffaello Sanzio - Julius II, Pope

1600－1700. Rembrandt - Self-portrait at 34,63

1700－1940. Van Gogh - Sunflower

Raffaello Sanzio- Julius II, pop 拉斐尔 《教皇朱利阿斯二世》

Sandro Botticelli - Venus and Mars波提切利

《維納斯与馬尔斯》

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WHITECHAPEL GALLERY

白教堂美術館開創為本

WRITTEN 撰文 x JINGWEI ZHANG 張靖威 BY COURTESY OF 圖片提供 x WHITECHAPEL GALLERY 白教堂美術館

The Whitechapel Gallery, located in the heart of east London, was founded in 1901. It was originally funded by the government and built for temporary exhibitions. The Gallery is a touchstone for contemporary art internationally and plays a central role in London’s cultural landscape. It is pivotal to the continued growth of the world’s most vibrant contemporary art quarter.----------白教堂美術館坐落於倫敦東區的心臟地帶，始建於1901年。起初是由政府資助，為臨時展覽而建成的美術館。從建館之初直至今日，它一直在倫敦的文化、藝術領域乃至前景展望中，扮演着特殊的角色；也對東倫敦，這一世界上最為活躍的當代藝術區之一的持續發展，有著重要的作用。

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展覽涵蓋多個領域2009年4月，白教堂美術館完成了自建館以來的第一次擴館項目，總體面積擴大了兩倍，可供展覽的空間擴展到了将近原來的三倍。

美術館的藝術展歷來豐富，毫不吝嗇的涵蓋了當代藝術的方方面面，攝影，繪畫，電影，雕塑，裝置藝術等等。新擴館後的展覽空間，开启了白教堂美術館新的展覽史的一頁。

舉個例子，中國藝術家黃曉鵬在白教堂的影像短片展持續了三個月。其音像作品通過再創作在中國當紅的一些熱門元素，與自己創作的文字混合，再打亂文字本應有的次序，以此探索政治本身與語言和科技之間的關係。作品犀利，大膽而誇張。

ExhibitionsIn April 2009, Whitechapel Gallery completed an ambitious expansion for the first time since it was built. Almost doubling in size, the expanded Whitechapel Gallery tripled its exhibition space.

The exhibitions in the Whitechapel Gallery contains almost all aspects of contemporary art, such as photography, paintings, films, sculptures or installations. The extended space in the Whitechapel Gallery opens a new page in its exhibition history.

For instance, Chinese artist Huang Xiaopeng showed his moving image works at the Whitechapel gallery during three months. He analysed the relationship between language, technology and politics by using popular figures and concepts in China, combining them with a set of Chinese characters he had created and then broke this order of the text again. His art implied a strong political criticism,which gave this work a daring character.

John StezakerMask X, 1982CollageRingier Collection, Switzerland

John StezakerLove XI, 2006CollagePrivate Collection, Switzerland

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A Gallery with Many “Firsts”The Whitechapel Gallery’s history is a history of firsts:1939 Guernica, Picasso’s iconic depiction of the horrors of the Spanish civil war is displayed at the Whitechapel Gallery on its first and only visit to Britain; 1958 The first major show in Britain of seminal American abstract expressionist Jackson Pollock; 1961 British premier of Mark Rothko – the installation of his work at the Whitechapel Gallery becomes his template for all subsequent shows; 1970 and 1971 First shows of British artists David Hockney, Gilbert & George and Richard Long; 1982 The Whitechapel Gallery introduces little-known Mexican painter, Frida Kahlo to London audiences; 1993 The Whitechapel Gallery showcases Lucian Freud, one of Britain’s greatest living figurative painters; 2001 and 2002 Liam Gillick and Nan Goldin stage their first major solo shows in the UK.

Education Projects and The Whitechapel Gallery ProjectAs a historical and non-for-profit gallery, the education projects and other innovative art projects in the Whitechapel Gallery have played an exemplary role throughout the UK and the world. Meanwhile, the Whitechapel Gallery Project has built on partnerships with a local and global network of museums, galleries, educational organizations and communities. For example, the local art institutions in the UK, such as National Portrait Gallery, V&A Museum, British Museum, the Serpentine Gallery and Tate Modern help develop the education programmes. The education projects focus on the development around the east London area of Whitechapel.

In addition to Whitechapel Gallery’s touring exhibitions, the Collections and Archive Galleries will build on relationships with regional local authority museums and National and International Collections ranging from Manchester City Art Gallery to MoMA, from the British Council to the Getty.

Media Comments‘Whatever the art, the Whitechapel has looked at it freshly and without prejudice, with spectacular results.’ Mail on Sunday.

The Whitechapel Gallery is ‘the traditional cradle of radical political art, where there are incredible exhibitions, and the critical place for avant-garde art.’

‘International in its scope and reputation… of all London’s galleries, it remains the one that is truly of the people.’ The Financial Times

開創先河的美術館“白教堂美術館的歷史，就是一个匯集了无数个開創先河的展覽的歷史。”

1939年，畢加索著名的描述西班牙内戰的大型油画在不列顛的首映也是迄今為止唯一一次在英国的展出；到二十世紀六十年代轟動藝術界的将波普藝術成功傳播給公众的展覽“這就是明天”；以及抽象表現主義画家馬克·羅斯科1961年在英國的首展；再諸如波普藝術的代表人物之一大衛·霍克尼，英國本土双人藝術家組合吉爾伯特&喬治，藝術家理察德·隆恩，英國畫家露西安·弗洛伊德這些日後名聲大震的藝術家的個人首展，均獻給了白教堂美術館。2002年，美國攝影師Nan Goldin在白教堂舉行了其個人在英國的首個大型展；2008年，英國當代藝術家珂奈麗雅·帕克與著名語言學家，哲學家諾姆·喬姆斯基對談的短片，探討藝術如何拯救人類，我們生存的星球的話題；2009法國作家，藝術家索菲·卡勒多媒體藝術結合的個人展也是當時倫敦炙手可熱的展覽之一。

白教堂美術館的教育及其他延伸項目白教堂不光有展覽，作為一個歷史悠久的非營利性的教育慈善機構，其社區教育項目，教育創新及其他在藝術領域內的延伸項目都在整個英國乃至世界上起到了先鋒模範的作用。就英國本土的美術機構來說，例如著名的國家肖像美術館，V&A博物館，大不列顛博物館，蛇形畫廊，泰特現代館；每個機構所舉辦的五花八門的教育項目，均沿襲了白教堂美術館的風格。如今，白教堂美術館其教育和其他延伸項目更側重與白教堂地區的地區文化發展。

除此之外，白教堂美術館還廣泛的與別的藝術機構、學校有合作關係；例如曼切斯特藝術畫廊，當代藝術博物館等。

媒體評論“無論什麼藝術形式，白教堂都能以其嶄新獨到的眼光對待，棄除一切偏見，往往能產生超乎平常的結晶。”星期日郵報如此評論道。

而另一媒體評論道，白教堂是“激進政治藝術的傳統搖籃，在這裡總有酷到無敵的展覽，也是前衛藝術浪潮抨擊的狂野海岸。”

“白教堂美術館的眼光和聲譽，在所有的倫敦畫廊和藝術館中，是真正的人民的藝術館”──《金融時報》

ROYAL ACADEMY OF ARTS象牙塔尖

英國皇家藝術學院WRITTEN 撰文 x FAN ZHANG 張凡

BY COURTESY OF 圖片提供 x ROYAL ACADEMY OF ART 英國皇家藝術學院

SPECIAL FEATURE

Outside view of Royal Academy of Art英國皇家藝術學院外景

The Royal Academy of Arts was founded by King George III in 1768. The 34 founding Members were a group of prominent artists and architects who were determined to achieve professional standing for British art and architecture. They also wanted to provide a space for exhibitions that would be open to the public; and a school of art through which their skills and knowledge could be passed on to future generations. The Royal Academy of Arts was moved to Burlington House in 1867. The Academy today continues to aspire, in the words of its eighteenth-century founders, ‘to promote the arts of design’. The Academy now enjoys an unrivalled reputation as a venue for exhibitions of international importance.----------英國皇家藝術學院成立於1768年，由當時的國王喬治三世親自帶領34人創建。學校成立的目的有二，一是以展出當代作品的方式，讓專業藝術批評家的聲音推動藝術與設計的發展，提高藝術家的專業地位；二是推動國家的藝術教育，培養公眾對藝術的興趣和鑒賞能力。在幾百年的發展中，皇家藝術學院曾經四度遷址，現在位於Piccadilly大街上的伯靈頓大廈。發展至今，皇家藝術學院依舊延續著其創始人的宗旨，“推廣設計的藝術”，現在它作為具有國際意義的展覽場地，在全世界都享有無與倫比的聲譽。

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組織結構

皇家藝術學院是一個獨立機構，其中的學者包括畫家、雕塑家、版畫家和建築師等，他們全都活躍在藝術領域，因為其傑出的成就而進入學院。學院中共有80名學者，和超過75名的高級學者，他們被輪換著選入一個理事會，直接管理皇家藝術學院。在這個理事會中，還有幾位主要的負責人，包括校長、管理員、財務主管、秘書和首席執行官。

館藏

英國皇家藝術學院在英國擁有的主要的收藏來自他們過去和現在的收藏，這些館藏也是最老的和最好的藝術品。館藏曾收到過不朽的遺贈，比如陳列在Sackler Wing 畫廊米開朗基羅的作品。館藏當中傑出的作品可以在 John Madejski Fine Rooms的免費旅行手冊上看到。英國皇家藝術協會通過持續性的國際展覽和廣大的教育性項目支持、研討會及辯論會去履行他的創始人的目標。這些收藏重點在英國藝術和藝術家們，占主導地位的收藏從18世紀直到近代。在這些傑出油畫和雕塑包含的主要作品來自於雷諾茲、特納、康斯特布爾、阿爾瑪-垣德瑪、弗萊克斯曼、米萊、萊頓、沃特豪斯、薩金特、斯潘塞和霍克尼。館藏包括油畫、雕塑、素描、印刷品（照片）、建築設計、史書、檔案、歷史照片和招貼畫。學院的圖書館是英國最老的藝術圖書館，已經服務於學生、院士、學者超過200年。

OrganisationThe Academy is an independent institution. The academicians are all practising painters, sculptors, engravers, printmakers, draughtsmen and architects and are elected by their peers. There are up to 80 academicians and a number of senior academicians who are over 75. The Academy is governed by a council selected by rotation from the academicians, and includes the four principal officers of the Royal Academy - the President, Keeper, Treasurer and the Secretary and Chief Executive, all of whom attend Council ex officio.

Collections and LibraryThe RA owns a major collection of works by Royal Academicians past and present together with the oldest and one of the best fine-art libraries in Britain. The Collection has received outstanding bequests such as the Michelangelo Tondo on display in the Sackler Wing of Galleries. Highlights from the Collection can be seen on free guided tours of the John Madejski Fine Rooms. The RA continues to fulfil its founders’ aims by mounting a continuous programme of internationally-acclaimed loan exhibitions, supported by extensive education programmes, seminars and debates. The collection focuses on British art and artists and predominantly ranges from the 18th century to the present day. Highlights in the collection of paintings and sculpture include major works by Reynolds, Gainsborough, Turner, Constable, Alma-Tadema, Flaxman, Millais, Leighton, Waterhouse, Sargent, Spencer and Hockney. The Collection includes paintings, sculptures, drawings, prints, architectural designs, historic books, archives, historic photographs and plaster casts. The Academy’s Library is the oldest fine arts library in Britain and has served the needs of students, Academicians and scholars for over 200 years.

SPECIAL FEATURE

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Inside view of Royal Academy of Art英國皇家藝術學院內景圖

Burlington House皇家藝術學院伯靈頓大樓

Burlington HousePassing through the gateway from Piccadilly into the Burlington House courtyard, the visitor is met with three hundred and fifty years of architectural history. The Royal Academy’s home since 1867 is Burlington House, a magnificent listed building at the heart of London’s West End.

In 1854 it was bought by the government and during the 1860s the site was remade for institutional use as a home of arts and sciences – a great statement of national cultural and intellectual might. Prior to the Royal Academy being granted a 999-year lease in 1867, the building served as the headquarters of various learned societies, almost all of which are still housed within the courtyard. The Royal Academy was required to erect its top-lit Main Galleries and its art school at its own expense. Both were designed by Sidney Smirke RA and built on half of the garden to the north of the house. Smirke also added a third floor to accommodate a suite of Diploma Galleries to unify Burlington House with the three-storey ranges being raised around the courtyard by the firm of Banks and Barry, the latter the son of Sir Charles Barry RA, architect of the Houses of Parliament. Further interventions have included a remodelling of the state dining room and the construction of a secondary staircase by Richard Norman Shaw RA (1885), the construction of a new Library (1986) and Print Room (1993) by HT Cadbury-Brown RA, and the remodelling of the top-floor galleries (now the Sackler Wing of Galleries ) and a reorganisation of the vertical circulation by Lord Foster of Thames Bank RA in 1991.

伯靈頓大樓

穿過皮卡帝利大門進入伯靈頓大樓的院子，遊客可以看見一棟三百五十年之久的歷史建築。自1867年伯靈頓大樓稱為皇家藝術學院以來它就是倫敦西部中心地帶的宏偉建築之一。

1854年政府買下這棟大樓，後被重整作為在整個的18世紀60年代中最有發言權的國家知識文化機構。而在1867年前皇家藝術學院也被授予了一份為期999年的租賃合同。被大樓所服務的各個學術團體至今也都在庭院裏保留。皇家藝術學院被要求建立最頂尖的美術館以及藝術學校。新迪斯密克院士設計了他們並把他建在北面的花園。 而後理察德諾曼肖院士參與建造的包括餐廳的重裝和秘書處的重建。吉百利布朗院士在1986年和1993年建造了新的圖書館和影印室。

SPECIAL FEATURE

The Sackler Wing of GalleriesFollowing the RA’s move to Burlington House in 1867, the architect Sydney Smirke RA extended Lord Burlington’s town palace in a number of ways to satisfy the terms of the lease. The Main Galleries and Art Schools were built in half of the garden at the back and an extra floor was added to the house to serve as Diploma Galleries.

In 1991, an extensive remodelling of this addition was unveiled. Norman Foster RA replaced the Victorian Diploma Galleries with a series of top-lit barrel vaulted spaces, renamed the Jillian and Arthur M Sackler Wing. The neglected gap between the old town palace and the Main Galleries was brought into use by the clever insertion of a modern glass lift and stairs. The light-flooded reception space at the top in front of the new wing of Galleries (pictured above) incorporates Smirke’s stone cornice, which capped the Main Galleries and is here reused as a ledge to display sculpture from the RA’s Collection, now known as The Jillian Sackler Sculpture Gallery.

Lord Foster has spoken of how the seminal thinking behind the Sackler Wing design paved the way for later work by Foster Associates, such as the Great Court at the British Museum, describing it as “the first in a line of projects to demonstrate a clear philosophy about how you make modern intervention in historical structures and how you establish a meaningful relationship between old and new”.

展覽

皇家藝術學院始終堅持著創辦伊始的初衷，即不遺余力的推動各種展覽 的 承 辦 並 支 持 各 種 與 藝 術 相 關 的 課 程、講 座 及 研 討 會。而 主 畫 廊 和Sackler Wing畫廊主要承辦各個時期的各種風格的藝術展覽。

ExhibitionsThe RA continues to fulfil its founders’ aims by mounting a continuous programme of internationally-acclaimed loan exhibitions, supported by extensive education programmes, seminars and debates. The Main Galleries and The Sackler Wing of Galleries host a variety of major exhibitions from all periods and art forms.

RA SchoolsThe Academy’s art school (it is known as ‘The Schools’ because each ‘School’ originally corresponded to a different element in the training of the artists that had to be mastered in a particular order) is the oldest in Britain. Past students include many famous British artists such as William Blake, JMW Turner, Edwin Landseer, JE Millais and, more recently, John Hoyland, Sir Anthony Caro and Sandra Blow. Today, 60 students study drawing, painting and printmaking on a three-year postgraduate course - the only such course currently available in Britain.

皇家藝術學院

皇家藝術學院是英國最古老的藝術學院。知名校友包括威廉布萊克、JMW托納、愛德文蘭西爾、JE米萊斯、約翰霍蘭、安東尼卡羅爵士以及桑德拉鮑勃。目前有60為學生在皇家藝術學院開設的全英唯一一個為期三年的研究生課程學習，其內容包括素描、油畫以及版畫。

與中國有關的展覽

中國：盛世華章，1662-1795 展覽時間：2005年11月12日－2006年4月17日展覽地點：Main Galleries皇家藝術學院歷來關註全世界的傑出藝術作品，它第一次關於中國的專門展覽，是1935年的首屆中國藝術展，最近一次，則是2005年開始的“中國：盛世華章”。這個展覽中的藏品，都是中國清朝的皇家珍品，大部分來自北京的故宮博物院。展覽聚焦於中國的最後一個封建王朝——清朝，展示的是它最強盛時期的藝術與文化內涵。清朝的盛世集中於康熙

（1662-1722在位）、雍正（1723-1735在位）、和乾隆（1736-1795在位）三位皇帝在位時期。皇家藝術學院的這次展覽，不僅有宮廷繪畫，還有玉器、青銅器、瓷器、漆器、黃袍、皇宮家具、西洋儀器、武器甚至大典盔甲等等稀世珍品，共計400余件，其中很多展品是第一次在中國境外展出。

Exhibition about ChinaChinaThe Three Emperors, 1662—179512 November 2005 — 17 April 2006 In the Main GalleriesThis magnificent exhibition explored the artistic and cultural riches of Imperial China. Spanning the reigns of three Emperors, Kangxi (1662—1722), Yongzheng (1723—35) and Qianlong (1736—95), it focused on the most powerful rulers of China’s last dynasty: the Qing. Each Emperor employed the greatest artists and workshops of his day to glorify his rule.

Tips 小貼示

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Outside view of Royal Academy of Art英國皇家藝術學院外景

開放時間

周六至周四：10:00am-6:00pm（最晚入場5.30pm）

周五：10:00am-10:00pm（最晚入場9.30pm）

Opening time

Sat-Thu 10am-6pm ( last admission to galleries 5.30pm)

Fri 10am-10pm ( last admission to galleries 9.30pm)

SPECIAL FEATURE

The Serpentine Gallery is one of London’s best-loved galleries for modern and contem-porary art. It’s Exhibition, Architecture, Education and Public Programmes attracts up to 800,000 visitors in any one year. It has a critically acclaimed reputation for excellence, presenting pioneering exhibitions of the most internationally recognized artists of our time.----------蛇形畫廊是倫敦最為活躍也是倫敦人最為喜愛的當代藝術畫廊。蛇形畫廊舉辦的展覽，講座，公共項目每年吸引了超過80萬的遊客。蛇形畫廊的卓越品質和無與倫比的聲譽來自於其堅持不懈地將當下國際視野內最為傑出的當代藝術家和藝術作品呈現在我們面前。

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Outside view of Serpentine Gallery 蛇形畫廊外景

SERPENTINE GALLERY

THE PEARL BESIDE THE LAKE

九曲湖畔的明珠蛇形畫廊

WRITTEN 撰文 x HARRY 劉競晨PHOTOGRAPHY 攝影 x MARGARITA MONER LOPEZ

BY COURTESY OF 圖片提供 x 蛇形畫廊 SERPENTINE GALLERY

SPECIAL FEATURE

蛇形何來

英國藝術委員會在1970年選定了一處古典風格的茶室建立了蛇形畫廊，其得名於附近的橫穿海德公園的九曲湖。戴安娜王妃生前曾是蛇形畫廊的名譽資助人，為了對其表示敬意，藝術家伊恩 • 漢密爾頓 • 芬利（Ian Hamilton Finlay）和新西蘭藝術家皮特 • 考蒂斯（Peter Coates）合作創作了為蛇形畫廊特別設計的入口部分。

在蛇形畫廊剛剛成立的那些年，它僅僅是在夏季的幾個月裏對外開放，直到1991年，茱莉亞 • 佩頓 • 瓊斯（Julia Peyton Jones）出任畫廊總監，蛇形畫廊開始逐步活躍起來並且將當代藝術作為其主要的發展方向。蛇形畫廊舉辦的各種當代藝術展覽和活動，包括建築設計，教育以及公共項目使得其成為了倫敦最具活力的當代藝術舞臺。

卓越品質和引領風尚是蛇形畫廊在倫敦眾多的藝術場所中脫穎而出的重要原因。曼瑞(Man Ray)、亨利 • 摩爾(Henry Moore)、安迪 • 沃霍爾(Andy Warhol)、布裏奇特 • 賴利(Bridget Riley)、亞倫 • 麥可蘭(Allan McCollum)以及達明安 • 赫斯特、 前衛藝術家安東尼 • 麥考(Anthony McCall)都曾在這裏舉辦過個人展覽。

2006年蛇形畫廊與阿斯圖 • 弗恩利當代藝術博物館 （Astrup Fearnley Museum of Modern Art合作在倫敦地標性建築“巴特西電廠” （Battersea Power Station）舉辦了名為《中國電站：第一部分》（China Power Station: Part I）的中國當代藝術展。這是蛇形畫廊的第一次大規模場外展覽項目，展覽表現了中國當代文化的蓬勃發展， 同時也將中國當代藝術展現給西方觀眾。

A Brief History Of The Serpentine GalleryThe Serpentine Gallery is located in the Kensington Gardens in centre Lon-don, which was founded by Arts Council of Great Britain at 1970. Its name comes from the Serpentine River, which is in Hyde Park. In the grounds of the gallery is a permanent work by artist and poet Ian Hamilton Finlay, dedicated to the Serpentine’s former Patron Diana, Princess of Wales. The work comprises eight benches, a tree-plaque, and a carved stone circle at the Gallery’s entrance.

At the beginning of the Serpentine Gallery’s life, it was only open during summer. In 1991, Julia Peyton Jones became the director of the gallery and the Serpentine Gallery began to focus on contemporary art. During last 20 years, Serpentine Gallery has held many exhibitions and events, and it has become a popular and active contemporary art stage in London.

The Serpentine Gallery has unique character and different from other art galleries in London It built up its excellent reputation by presenting the pio-neering works of internationaly recognized artists such as Antony Gormley, Damien Hirst, Jeff Koons, Richard Prince, Man Ray, Gerhard Richter, Cindy Sherman, Andy Warhol and Rachel Whiteread.

In 2006, Serpentine Gallery worked with Astrup Fearnley Museum of Mod-ern Art to hold a exhibition China Power Station: Part I at Battersea Power Station in London. That show was the first big project, which Serpentine Gallery held exhibition outside its gallery, and the exhibition introduced Chinese contemporary art to British audiences for the first time.

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Outside view of Serpentine Gallery’s front face at day and night 白天和夜晚的蛇形畫廊外景

首席策展人

2006年瑞士策展人漢斯 • 尤利斯 • 奧布裏斯特(Hans Ulrich Obrist)加入蛇形畫廊擔任展覽項目聯合總監和國際項目總監，他是最早也最多關註中國前衛藝術的國際策展人之一。2009年漢斯 • 尤利斯 • 奧布裏斯特著作出版了《漢斯 • 尤利斯 • 奧布裏斯特：中國訪談集》（Hans Ulrich Obrist：The China Interviews），收錄了他與包括艾未未、大尾象、曹崇恩、曹斐、張永和、陳箴、儲雲、丁乙、顧德新和黃永砯等二十六位中國藝術家、建築師、電影導演和音樂家的采訪對話，並於同年位於英國《藝術評論》雜誌（Art Review） 評選的“藝術影響榜100人”之首。2010年漢斯 • 尤利斯 • 奧布裏斯特仍居該榜次席，並保持著他對藝術展覽和鑒賞風向不可低估的影響力。

The Main Curator - Hans Ulrich ObristIn 2006, the Hans Ulrich Obrist became the main curator of Serpentine Gallery and was in charge of the exhibitions and international projects. He is very interested in Chinese contemporary art; he published his Hans Ulrich Obrist：The China Interviews in 2009, which included his interviews with many Chinese artists such as Ai Weiwei, Cao Fei, Gu Dexin and Huang Yongping.

Hans Ulrich Obrist首席策展人汗斯

SPECIAL FEATURE

Serpentine GalleryPavilion CommissionThe Serpentine Gallery Pavilion com-mission was conceived by Serpentine Gallery Director, Julia Peyton-Jones, in 2000. It is an ongoing programme of temporary structures by international-ly acclaimed architects and designers. The series is unique worldwide and presents the work of an international architect or design team who has not completed a building in England at the time of the Gallery’s invitation.

臨時展館

蛇形畫廊臨時展館計劃開始於2000年，畫廊每年邀請一位全世界範圍內那些在英國境內沒有作品的傑出建築師或者設計團隊來為其設計臨時展館。每年夏天蛇形畫廊都要為募集藝術資金而舉辦慈善派對（The Summer Party）並在室外草坪搭建臨時展館以供使用。這十年間，眾多傑出設計師曾參與過蛇形畫廊臨時展館項目，其中也包括設計了CCTV新樓的設計師雷姆 • 庫哈斯（Rem Koolhaas）。

2000年 伊拉克裔英國建築師紮哈 • 哈迪德（Zaha Hadid）2001年 波蘭裔美國建築師丹尼爾 • 裏伯斯金（Daniel Libeskind）和奧雅納工程顧問公司（Arup）2002年 日本建築師和家具設計師伊登豐雄（Toyo Ito）2003年 巴西建築大師奧斯卡 • 尼邁耶（Oscar Niemeyer）2004年 荷蘭前衛組合MVRDV事務所2005年葡萄牙建築師阿爾瓦多羅 • 西紮 （álvaro Siza）和學生愛德華 • 索多 • 德莫拉（Eduardo Souto de Moura）聯合結構設計師塞西爾 • 貝爾蒙德 （Cecil Balmond）共同設計2006雷姆 • 庫哈斯（Rem Koolhaas）2007年 挪威建築師克雷蒂爾 • 索爾森（Kjetil Thorsen）和丹麥裔冰島藝術家奧拉維爾 • 埃利亞松（Olafur Eliasson）共同設計2008年 加拿大建築大師弗蘭克 • 蓋瑞（Frank O. Gehry）2009年 日本知名的SANAA事務所妹島和世(Kazuyo Sejima)和西澤立衛 (Ryue Nishizawa)2010 年 法國建築師讓 • 努維爾（Jean Nouvel）

092/093

蛇形畫廊2012新館

2010年底，皇家公園為了提高建築利用率而委托蛇形畫廊在肯辛頓花園內的廢棄彈藥庫舊址上建立新的畫廊。從現在的蛇形畫廊向北步行約五分鐘就可以抵達新的蛇形畫廊分館，新館將被命名為蛇形薩克勒畫廊(Serpentine Sackler Gallery) 以感謝40年來為蛇形畫廊提供最大筆單方贊助的莫蒂默博士和泰麗莎 • 薩克勒基金會(The Dr Mortimer and Theresa Sackler Foundation)。新館將邀請著名設計師紮哈 • 哈迪德（Zaha Hadid）進行設計，她將將其設計成為倫敦市中心另一個當代藝術地標性場所並為來自世界各地的藝術新銳作品提供展示的平臺。新畫廊占地面積880平方米，輔助設施將包括餐廳、咖啡店及頗具當代藝術設計感的商店等。新的蛇形畫廊薩克勒畫廊將在2012年倫敦奧運會期間正式開放。

畫廊總監茱莉亞 • 佩頓 • 瓊斯（Julia Peyton Jones）和首席策展人漢斯 • 尤利斯 • 奧布裏斯特(Hans Ulrich Obrist)表示：“這是蛇形畫廊千載難逢的一個機遇。我們一直在尋找合適的場地來拓展我們的工作，我們非常感謝我們的合作夥伴提供了這樣一個慷慨的幫助，能讓我們有機會為大家打造一個令人激動的新的藝術平臺。”

2007 Pavilion Commission

by Kjetil Thorsen and Olafur Eliasson

2007年臨時展館，克雷蒂爾 • 索爾森

和奧拉維爾 • 埃利亞松

2008 Pavilion Commission

by Frank O. Gehry 2008年臨時展館,

弗蘭克 • 蓋瑞

SPECIAL FEATURE

A New Public Gallery for London in 2012The Royal Parks, as part of an initiative to make better use of its buildings, has awarded a contract to the Serpentine Gallery to establish a new gallery in The Maga-zine building in Kensington Gardens. The Grade II listed building is situated on West Carriage Drive, on the north side of the Serpentine Bridge. The project, to be known as the Serpentine Sackler Gallery, has been made possible by The Dr Mortimer and Theresa Sackler Foundation which has given the largest single gift the Serpentine Gallery has received in its 40 year history.

The building will be fully renovated by Pritzker Prize winning architect Zaha Hadid who will create a new destination for contemporary culture. Plans include an ad-joining pavilion to be used as a social space and restaurant, creating a permanent architectural landmark in the heart of London.

The Serpentine Sackler Gallery will become an exciting new cultural destination for London, discovering the best new international talents from the worlds of art and beyond. The Serpentine

Sackler Gallery, like the Serpentine Gallery, will be free of charge and accessible to all, with public engagement and cultural learning at its heart. It is due to open in time for the London 2012 Olympic and Paralympic Games. The Serpentine Sackler Gallery will offer over 880 square meters of galleries and social space, approximately equal to the Serpentine Gallery’s footprint.

Julia Peyton-Jones, Director and Hans Ulrich Obrist, Co-Director, Serpentine Gallery said: “This is an opportunity of a lifetime for the Serpentine Gallery. We have been interested in the potential of the building for some time and how it could help us expand the range of what we do. In these challenging times, we feared the op-portunity would be lost. We are very grateful to our long-term friends for their very generous assistance, which has made it possible for us to create this exciting, new platform for the UK and beyond.”

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Sky Mirror，Anish KapoorCourtesy of the Artist and Lisson Gallery

阿尼什卡普爾 《天鏡》

Current exhibition：Anish KapoorTurning the World Upside DownThe free exhibition will showcase a series of major recent works never before shown together in London. Con-structed from highly reflective stainless steel, the giant curved mirror surfaces will create illusory distortions of the surroundings and will be visible across large distances, creating new vistas in this famous and much-loved setting.

Kapoor was born in Bombay in 1954 and has lived in London since the early 1970s when he studied at Chelsea School of Art and Design. Over the past twenty years he has exhibited extensively in London and worldwide. Kapoor represented Britain in the 1990 Venice Biennale, where he was awarded the Premio Duemila. The following year, he won the Turner Prize.

當下展覽： 阿尼什卡普爾 - 顛

倒的世界

目前在蛇形畫廊展出的展覽是阿尼什卡普爾 （An-ish Kapoor）近期的主要作品，也是這些作品第一次在倫敦展出。他運用高反光率不銹鋼材料制作的作品類似曲面反光鏡，巨大的鏡面將周圍的景觀反射成為虛幻的倒影，感覺上好似將我們的世界顛倒了一樣，這也是他作品標誌性的視覺效果。

阿尼什卡普爾（Anish Kapoor）1954年生於印度孟買，1970年代，他來到英國並在切爾西藝術學院學習（Chelsea School of Art and Design）。在過去的20年間，他的作品在倫敦及世界各地不斷的被展出。在1990年的威尼斯雙年展上，他代表英國參展，並獲得Premio Duemila獎，1991年獲得特納獎（Turner Prize）。

蛇形畫廊開放時間:

每日10am-6pm

Serpentine Gallery opening time:Daily :10am - 6pm

Tips 小貼示

本 期 專 題

For Profit or for Public?

CMBC sponsored and funded an art museum brings reputation as well as suspicion: is the aim of CMBC’s action for profit or to benefit the public?

Wenbiao Dong, the Chairman of CMBC, said that if CMBC wanted a sustainable development, a strong entrepreneurial spirit was needed, and social responsibility is a part of entrepreneurial spirit. Supporting art is an expression of social responsibility for CMBC.

CMBC, as a commercial bank, uses this method to contribute the community and society, does this bring them interest at the same time? From 2007, CMBC launched art investment programme, and Minsheng Art Museum protect the investors’ interests in certain levels. Moreover, the active status of Chinese art market demands normative art investment institutions.

However, Minsheng Art Museum does not focus on the financial benefit for CMBC. What CMBC is benefited from Minsheng Art Museum is the reputation in the industry. Xiaoqing Ding, director of Media of Minsheng Art Museum, said that Minsheng Art Museum did gather a large group of artists around it. People, holding the CMBC card can visit exhibition with a free charge. Moreover, the free talks and lectures organized by Minsheng Art Museum enriched people’s knowledge and vision.

EpilogueMinsheng Art Museum has held several large art exhibitions, which attracted everyone’s attention in the industry. The Opening exhibition, Thirty Years of Chinese Contemporary Art 1979-2009, brought attention and discussion. Regardless the purpose of Minsheng Art Museum, whether for economic profit or simply for the public, this art museum indeed enriches public’s lives, improves people’s tastes, at the same time, it won reputation for CMBC.

中國當代藝術三十年曆程展覽現場Exhibition display of Thirty Years of Chinese Contemporary Art

043/042

純公益＝非功利？

民生銀行開美術館之一舉動，在美術界為之叫好的同時，無疑讓外界

多了幾分猜測：他們到底是為了公益事業還是為了銀行的發展需要？

中國民生銀行董事長董文標表示，民生銀行想要持續發展，必須有強

大的企業精神來支持，社會責任就是其中重要的一部分。而關注藝術

是民生銀行擔當社會責任的一種表達。

民生銀行作為一家商業銀行，用這種方式回饋社會的同時，沒有為他

們帶來一點點的利益嗎？民生銀行自2007

年開始，推出了“藝術

品投資計劃”，而民生現代美術館，也從一定程度上保障了投資者

的利益。而中國藝術品市場火熱的現狀，也是需要規範的藝術品投資

機構。

但是民生現代美術館並沒有把為民生銀行帶來經濟作為經營目標，而

對於民生銀行，獲得的更多的應該是業內的聲譽。民生美術館媒體主

管丁曉芹說，民生美術館建立的更大意義在于美術館周圍聚集了大批

的藝術家群體。在民生現代美術館，持有民生銀行卡的觀眾可以免票

參觀展覽。而民生美術館所舉辦的一系列免費講座，也豐富了藝術愛

好者的知識和視野。

結語

民生現代美術館自開館至今多次舉辦了大型藝術展覽，在業內外引起

了大家的關注。其開館展“中國當代藝術30

年歷程”在藝術圈裡也

是一件轟動的事情。不論民生現代美術館是為了經濟利益而建的，還

是純粹為了大眾的精神生活而造的，它的開放，確實為大眾打開了一

個欣賞中國現當代藝術的大門。而在豐富大眾生活，提高藝術品味的

同時，民生美術館也確實為民生銀行贏得了聲譽。

本 期 專 題

An Art Museum Bakced by a Financial Institution

As we all know, Minsheng Art Museum is sponsored and funded by the China Minsheng Banking Corporation (CMBC), but operated independently. CMBC, as the first national joint-stock commercial bank with shares mainly from non-public enterprise, does create a lot of ‘first’.

In 2008, Board of CMBC decided to use 0.8%-12% of pre-tax profits every year as a special public fund. So far, the total fund has achieved 0.2 billion RMB. This fund will be used in art field, as Minsheng Art Museum, as well as to build public projects, as welfare schools.

In April 2010, Minsheng Art Museum officially opened to the public. The project of Minsheng Art Museum costs about 30 million RMB. However, three months ago, CMBC issued No.2 Funds, a 2-year art funds. The profit of this funds provided financial support for the operation of the museum.

As a result, the investment from financial institutions to art museum, actually opened minds when build or operate an art museum. Undoubtedly, The involvement of financial institutions brings new life to art museums. Without having to worry about the conditions for living, art museums will have more time and energy to consider their own affairs, such as exhibitions and education.

Related Links: the ways of financial institutions involve into art investment market in China (from Sina)

1. In July 2007, CMBC issued No.1 Funds for private banks and high-end customers. The investment products are mainly used for domestic investment in modern art with a 25% of return, in two years later.2. In June 2009, China Merchants Bank launched art appreciation programme, which allows costumers collect art for a year with certain deposit, and decide to buy or not a year later. Essentially, this is not an investment fund.3. In June 2009, China Construction Bank launched its first art funds investment trust schemes in the scale of 46.5 million RMB. Terminated after one year, this trust raised about 1 billion RMB, with 7% as an annual rate of return.4. In November 2010, CITIC Trust Co., Ltd issued its first investment trust product on Chinese calligraphy and paintings. This trust has raised 40 million RMB. The period of this trust is three years, and the expected annual rate of return is more than 10%.

中國當代藝術三十年曆程展覽現場Exhibition display of Thirty Years of Chinese Contemporary Art

041/040

金融機構為背景的美術館

眾所週知，民生現代美術館是民生銀行全資籌建的，但在運營方式上採取了獨立運

營。民生銀行作為中國首家由非公有制企業入股的全国性股份制商業銀行，確實在

中国的金融領域開創了不少先河。

2008

年，民生銀行董事會決定從每年的稅前利潤中撥出0.8%

到1.2%

作為專門

的企業公益基金。到目前為止，這一基金總額約為兩億元人民幣。而這一基金除了

投向民生現代美術館等藝術領域，也會用來建立公益小學這樣的項目。

2010

年4

月，民生現代美術館正式開館。而這一項目使得民生銀行投資約3000

萬人民幣，而就在此前三個月，民生銀行發佈了兩年期的藝術品基金──2

號基金。

而這項理財業務產生的獲利也可以為美術館的運營提供資金支持。

這樣一來，金融機構投資美術館，其實是打開了中國美術館的思路。美術館不再是

一樁“賠錢的買賣”。對於美術館的正常運營，金融機構資金的介入，無疑是為

美術館打了一劑強心針。在不必為生計發愁的條件下，美術館就由更多的時間和精

力來考慮美術館自己的事情：比如展覽，比如教育。

相關鏈接：中國金融機構進入藝術品投資市

場的方式（選自新浪網）

1

民生銀行2007

年7

月發行了針對私人銀行和高端客戶的藝術品投資一號基金，

這項投資產品主要用於投資國內現代藝術品，少量投資境外現代藝術品。在封閉投

資了兩年之後，獲得25

％的收益率。

2

招商銀行私人銀行2009

年6

月推出藝術鑑賞計劃，客戶可以支付一定的保證金

從而收藏藝術品一年，一年後決定購買與否。本質上這不是一個投資基金，也沒有

規模限制。

3

建設銀行2009

年6

月推出了首款藝術品投資集合資金信託計劃，規模4650

萬

元人民幣。一年後終止，年收益率7％，募集資金共約10

億元人民幣。

4

中信信託2010

年11

月發行了首款針對中國書畫類藝術品實物投資的信託產品，

募集資金4000

萬元人民幣，信託期限為三年，預期年收益率不低於10

％。

本 期 專 題

IntroductionMinsheng Art Museum is sponsored and funded by the China Minsheng Banking Corporation, which is an non-profit organization mainly establishing varies types of activities that engaged in art. It is also the first public welfare organization in context of financial institutions in Mainland China.

The total area of the museum is about 4,000 square meters. There are five exhibition halls, whose total area is about

1,600 square meters. To provide the most user-friendly convenience and plenty of art education resources, Minsheng Art Museum also provide report room, VIP room, literature-based reading room, art book shop, Café and ATM for visitors to enjoy their spare time.

The building of Minsheng Art Museum was a factory of a steel works 50 years ago. After re-design and transformation, Minsheng Art Museum, as a art museum exhibits modern and contemporary art, is presented.

美術館概況

民生現代美術館是由中國民生銀

行發起和出資建立的，主要從事

文化藝術類活動的非營利公益性

組織，也是中國大陸第一家以

金融機構為背景的公益性藝術機

構。

美術館總面積約為4000平方米，

館內公有五個展廳，展廳總面積

約為1600

平方米。同時，秉承

為公眾提供最為人性化的便利和

豐富的藝術教育資源的理念，美

術配有報告廳、貴賓室、書吧、

咖啡廳、文獻閱覽室等相關配套

設施。

民生美術館的展廳在50

年前曾

經是上海煉鋼廠的一間廠房，在

經過了重新的設計改造之後，變

成了現在的，集中國現代與當代

藝術為一身的民生現代美術館。

民生美術館開館展The Official Opening of Minsheng Art Museum

民生美術館空間Exhibition space of Minsheng Art Museum

039/038

本 期 專 題

Shanghai Minsheng Art Museum, as the first art museum in context of financial institutions in Mainland China, brings a fresh experience to the public. As a non-profit organization, Minsheng Art Museum indeed brings welfare to the public in exhibitions and education. At this time, the question that the foundation of Minsheng Art Museum is for profit or for welfare is asked.

Minsheng Art MuseumFor Profit or for Public?WRITTEN BY: SHORAN JIANGBY COURTESY OF: MINSHENG ART MUSEUM

037/036

民生現代美術館

功利還是公益？

撰文：姜嘯然

圖片提供：民生現代美術館

上海民生現代美術館作為中國大陸第一家以金融機構為背景

的美術館，它的成立，確實給公眾帶來了耳目一新的感覺。

而它同時作為一家公益性藝術機構，確實在展覽、教育等領

域為大眾帶來了福利。這時，人們不禁要問了，民生現代美

術館，到底是為了功利還是公益？

民生美術館外景Outside view ofMinsheng Art Museum

In Wang Jianwei's Yellow Signal , he presents us with a number of opposing concepts: motion versus rest, clarity versus obscurity. Superficially, these binaries seem to help us to make sense of the world, but in fact, their blurred interactions offer us even more complex truths. This is where the frame of reference becomes important: with the yellow signal being both a point of reference and a point of transition, "stop" and "go" are simultaneously valid courses of action. On the other hand, taking the green light or red light as a reference leaves us only one valid choice, either "stop" or "go".

Yellow Signal is a series of works that reveal how identity and symbols are transformed (or transposed) when the frame of reference changes. The yellow signal's "legal state of limbo" transcends epistemological boundaries. The absence of a transitional point generates two distinctly antagonistic states that can only negate, usurp or trade places with each other. Of course, a simplified binary world may be much more acceptable and easily

本 期 專 題

Current Exhibition: Wang Jianwei's Yellow SignalBy Zheng Yan, UCCA Art Department Director

understood, but it tends to bury or gloss over issues of pluralism and authenticity. As the saying goes, "Spectators see the game more clearly than the players." Perhaps this is what exhibition-goers are meant to ponder: whether or not they can recognize how their perspective shifts when frames of reference change or interfere.

汪建偉《黃燈》第一章節《用贗品等待》

視頻拍攝現場圖, 20118頻錄像裝置, 尺寸不固定圖片由長征空間提供Wang JianweiPhoto still from the making of Yellow Signal / Chapter One: Making do with Fakes, 20118 channel video installationDimension variableImage courtesy of Long March Space

汪建偉圖片由藝術家提供Wang JianweiCourtesy of the artist

Guy Ullens

After spending 40 years building his family business around the world, Guy Ullens retired in 2000 to focus on cultural and philanthropic activities with his wife, Myriam.

A member of the boards and councils of various international museums and art centers (including the Guimet Oriental Museum, the Foundation Cartier in Paris, and the Tate Modern in London), Guy also sits on the board of the Verbier Music Festival in Switzerland and is planning to help the festival expand in Asia.

汪建偉早期的繪畫作品已為體制內外所共知和肯定，而由畫架轉向當代

性更強的裝置和影像創作之後，藝術家特有的敏感、對現實世界的警覺

讓他的作品更具備一種先鋒的姿態。

可以說汪建偉的作品總會讓人有所思。以“黃燈”為例，具體來說，

一個抽象概念形成於人腦中，不管我們是否意識到，因為這個概念有一

個清晰的邊界存在，與之相對應的另一個概念也就很自然的產生了。比

如運動與靜止或者清晰與模糊，都會形成一種對應關系。這種對應關系

讓我們認識世界變得容易，然而事實上，我們卻不得不面對一個更為復

雜卻真實、模糊又交錯的對應關系群，此時參照物的作用就得以凸顯。

黃燈的狀態其實是一種參照與過渡，以黃燈做參照，通行和停止同樣合理。

如果僅以紅燈或綠燈做參照物，通行和停止必然只有一種合理的存在。

“黃燈”這組作品恰恰揭示了這種由於參照物不同所導致的事物身份和

象征的轉換，那種合法的中間狀態的存在與否，已超過認識論層面所涵

蓋的範圍。當這種過渡不存在的時候，只有兩種鮮明對立的狀態相互循環、

相互否定與代替，固然，一個簡化的二元世界更容易被理解和接納，卻

掩蓋或是忽略了事情的多元性和真實性。當局者迷，旁觀者清，透過“黃

燈”，旁觀者能否意識到這種由於參照物的介入和變化所引發的視角的

轉變，這可能正是展覽要留給觀眾的另一種思考。

尤倫斯先生

在40

年的工作生涯裏，尤倫斯先生在世界各地逐步建立起家族產業。2000

年，尤倫

斯先生決定隱出商界，和妻子一起從事慈善文化活動。

身為多所國際博物館和藝術中心的董事成員（古曼東方美術館，巴黎卡地亞藝術基金會,

英國泰特美術館）;

尤倫斯先生同時也是瑞士Verbier

音樂節的董事成員，除此之外他

近期還計劃在亞洲地區推廣音樂節活動。

003/002

當下展覽：汪建偉—

黃燈

作者：鄭妍，U

CCA

藝術部總監

彼得·林德伯格 《未知》,2011, 影像裝置,展覽現場, 攝影：陳丹圖片：尤倫斯當代藝術中心提供Peter LindberghThe Unknown, 2011Video installationExhibition ScenePhoto: Danny ChenCourtesy of UCCA

The Guy and Myriam Ullens Foundation, established in Switzerland in 2002, promotes Chinese contemporary art by sponsoring events worldwide, lending works from its collection to museums and art centers, and organizing major exhibitions in China and Europe. It is one of the most active organizations promoting Chinese contemporary art worldwide.

The objective of Guy and Myriam Ullens in opening UCCA was to give back to China what China had given to them in their many years of collecting, and to create a dynamic platform for dialogue between China’s contemporary creative artists and the rest of the world. Through UCCA, a non-profit organization, Guy and Myriam are taking their support for China’s artists to a whole new level, encouraging the development of new cultural ideas and providing an antidote to an increasingly commercial and profit-driven art scene.Lisa Le Feuvre and Tom Morton.

The 39 selected artists have been chosen on the grounds of their significant contribution to contemporary art in the last five years. All artworks included have been produced since 2005 and encompass sculpture, painting, installation, drawing, photography, film, video and performance, with many artists creating new works especially for the exhibition. British Art Show 7 will mark a change in direction from previous years, moving away from the model of a survey show to an exhibition with a marked curatorial focus.

尤倫斯的退出

2011

年2月，作為世界上收藏中國當代藝術作品最多的收藏家之一的比利時人蓋伊·

尤

倫斯宣布將把位於北京798

的“尤倫斯當代藝術中心”的管理權轉讓給“長期合作夥

伴”，並將於4月3日通過香港蘇富比拍賣其收藏的106

件中國當代藝術品，此後將尋

機出售手中剩余的1000

多件中國藝術品。此舉引發了中國當代藝術界的不小震動。

早在尤倫斯當代藝術中心建立之初，尤倫斯夫婦已經意識到在中國建立非盈利性藝術機

構是一件註定堅信的道路，在接受《紐約時報》采訪的時侯，

蓋伊·

尤倫斯和他的妻子

瑪麗恩就表示他們將心愛的英國畫家特納的作品出售是為了為籌備在中國建立一個非盈

利的藝術空間。時隔四年，當尤倫斯夫婦宣布退出的時侯，這個消息依然猶如一個重磅

炸彈。對於他們的離開和抛售的原因，也引來了各種各樣的聲音。

“經濟規律說”：不少人認為尤倫斯無非也是一

個商人，面對中國當代藝術作品價格在全球範圍內

的走高，低納高抛是更久不變的商業準則，面對這

幾年嚴峻的全球經濟形式和巨大的經濟回報，尤倫

斯選擇了獲利出逃的策略也無可厚非。

“信心喪失說”；由於中國基金體制的不健全，

尤倫斯很難在中國建立起西方體系類似的運轉模

式，而且中國當代藝術的學術缺乏，作品水平下降，

市場混亂等現象導致了尤倫斯對中國當代藝術前景

的信心缺乏從而萌生退意。

此次的尤倫斯撤出中國，對中國藝術界及藝術市場

有怎樣的影響我們還要拭目以待，但是很多藝術界

人士表示，尤倫斯的離開從長遠來看對中國當代藝

術的發展不是一件壞事，通過這件事，有助於反思

中國當代藝術的發展道路，也有助於中國當代藝術

更落腳於本土。

033/032

彼得·林德伯格,安吉拉·林德沃，克里斯·戴，華納兄弟製片廠，伯班克，美國, 2004, 300x200cm圖片由藝術家提供Peter Lindbergh, Angela Lindvall, Chris Dye,Warner Bros. Studio, Burbank, USA, 2004300x200cmCourtesy of the artist

Ullens Centre for Contemporary Art (UCCA)UCCA is a non-profit art center founded by collectors Guy and Myriam Ullens in November 2007, located in the heart of Beijing’s 798 Art District, UCCA is housed in an original and inspiring 1950’s industrial Bauhaus factory complex.. UCCA presents exhibitions of established and emerging artists and develops a platform of dialogue between China and the rest of the world.

As an innovative and comprehensive art center, the Ullens Center for Contemporary Art (UCCA) consistently demonstrates a compelling and unique way of engaging with the public. UCCA offers a complete artistic experience that combines exhibitions, programs, events, fine dining and shopping. As a non-profit art center, UCCA channels all earned revenue into supporting our exhibitions, art events and education programs.

Inspired by a childhood fascination with China, Guy Ullens began his collection with Chinese

classical paintings but soon became captivated by the creativity of Chinese contemporary artists and broadened his interest to the mid-1980s Chinese avant-garde. Both Guy and Myriam dreamed of opening an international contemporary art center in China to further their long-term goal of promoting and raising the global profile of Chinese contemporary art. This dream was realized in November of 2007, when UCCA celebrated its grand opening at Art Factory 798, the heart of Beijing’s Dashanzi Art District.

Guy and Myriam Ullens are two Belgian art collectors who enjoy sharing their passion for art with others. During their frequent visits to China over the last twenty-five years, they have developed a love for the local Chinese art scene and built up a considerable collection of Chinese art, which they have always been generous about exhibiting and lending to others.

The Guy and Myriam Ullens Collection, one of the largest of its kind in the world, is comprised of more than two thousand pieces by several generations of artists working in a variety of mediums: sculpture, painting, installation, video and more.

本 期 專 題

尤倫斯當代藝術中心展場圖片UCCA Space

尤倫斯夫婦與中國當代藝術的淵源

自兒時起，尤倫斯先生就對中國產生了濃厚的感情，並深深地被中國

藝術家獨特的創造力所吸引。尤倫斯先生的藝術收藏始於中國古典繪

畫作品，在20

世紀80

年代中期的『85

新潮藝術運』的影響下，他

對中國藝術的興趣更加濃厚，收藏的作品也日益增加。

尤倫斯夫婦樂

於與別人分享他們對藝術的熱愛。在過去近30

年間的多次訪華過程中，

出於對中國藝術的熱愛，他們收藏了數量龐大的中國藝術品。尤倫斯

夫婦的收藏是世界最大的中國藝術品收藏之一，擁有中國歷代不同領

域的藝術作品2,000

多件，包括雕塑，繪畫，裝置和影像。

2002

年，尤倫斯基金會在瑞士成立，並通過在中國及歐洲主辦大型展

覽、贊助一系列與中國當代藝術相關的重要國際活動，以及向美術館

和當代藝術中心開放其藏品資源的形式，推動中國當代藝術在世界範

圍內的不斷發展，是當今最活躍的中國當代藝術的推手機構之一。

2007

年，尤倫斯夫婦創辦U

CCA

，旨在創建一個中國當代藝術與世界

對話的充滿生氣的平臺，並以此回饋多年中國藝術的收藏生涯中，這

片土地和生活在這裏的藝術家帶給他們的故事和感動。

通過這個平臺，

尤倫斯夫婦期望把對中國藝術家的支持上升至一個全新的境界，為日

益商業化的當代藝術環境註入新的文化靈感，創造出更多的可能性。

031/030

尤倫斯當代藝術中心介紹

尤倫斯當代藝術中心是一座非營利的綜合藝術中心，由收藏家尤倫斯夫婦出資建造，2007

年

11

月正式開幕。藝術中心推出包括知名和年輕藝術家的展覽，致力於打造一個通過教育、研究

項目分享當代藝術體驗的平臺。

尤倫斯當代藝術中心坐落於北京798

藝術區，空間在擁有50

年代包豪斯式建築風格的廠房基礎上改建而成。

作為一座極富創新精神的綜合藝術中心，尤倫斯當代藝術中心（U

CCA

）立足於廣大公眾的需求，

以其獨特方式向公眾展現中國當代藝術的魅力。公眾可以通過參觀展覽、參與教育項目和公眾

活動、訂購藝術商品以及享受美食等方式，親身感受U

CCA

提供的全方位藝術體驗。

WRITTEN BY: JINGCHEN LIUPHOTOGRAPHY COURTESY OF: ULLENS CENTRE FOR CONTEMPORARY ART

Story Continues--Ullens Centre for Contemporary Art

本 期 專 題

Only four years since The Ullens Centre for Contemporary Art (UCCA) has been founded, but it has made a great impact on Chinese Contemporary Art. It is a nonprofit art organization, which was the first one founded by westerner. Since the beginning of the UCCA, every move of it has been with all kinds of discussion. In four years, the UCCA brought many great exhibitions to Chinese audiences. In this spring, Mr. Ullens announced his decision of withdrawal of Chinese contemporary art market and put his many Chinese contemporary art collections to the auction house. With the leaving of Ullens, the future of this art centre which bears his name is not clear.

尤倫斯當代藝術中心展場圖片UCCA Space

故事還在繼續—

尤倫斯當代藝術中心

撰文：劉競晨 圖片提供：尤倫斯當代藝術中心

尤倫斯當代藝術中心（U

CCA

）

從建立至今雖然只有不到四年

的時間，但是其對中國藝術界

產生的影響卻是巨大的。它是

一個西方人在中國建立的非盈

利性的當代藝術機構，從它誕

生的那一天，它的一舉一動都

被各種各樣的解讀，揣測或者

質疑所伴隨著。四年來，是它

將西方的規範的美術館經營體

制帶入了中國，是它為我們帶

來了一個個優秀的藝術展覽。

今年的春天，尤倫斯宣布了撤

出中國當代藝術市場的決定，

大批的藏品在春拍上抛售，伴

隨著尤倫斯的退出，這座以他

名字命名的美術館的未來又會

如何？故事還在繼續。

029/028

本 期 專 題

Conversation between History and PresentThe contrast between the historical and contemporary value of RAM makes it unique and different from any other galleries. An example of this is the sharp contrast in the foyer of the museum, with its classical decorations and the re-interpretation by an internationally renowned architect. The RAM is a continuous conversation between it’s past and present in terms of it’s architecture layout, practicality and aesthetically.

From a historical point of view, RAM is one of the earliest established museums in China, and the building was closed to the former British Consulate. The Bund area where RAM is located was the original British and French Concession in Shanghai. As a result, this place has been influenced by the British culture for a long time. Today, the Bund area has became a symbolic place in Shanghai and has an invaluable place in people’s heart. RAM is the only contemporary art museum in the Bund area, and as well as providing an interesting conversation between the past and present. It also is a very important platform for Western and Chinese cultural exchange.

Du Wenda (b. 1966, Xiaoxian, Anhui Province, China)Flying Saucer D2010

Cai Guo-Qiang (b. 1957, Quanzhou, China; lives in New York)Fairytale2010

結語

巫鴻，作為《2010·

曾梵志》在上海外灘美術館展出的

策展人，這樣說過：“當代藝術的‘當代性’必須顯

示為昨天和明天的連結。”其實，這句話也可以作為對

於上海外灘美術館的概括。上海外灘美術館，就是對於

厚重的歷史與多彩的當下，也就是未來歷史的一個連結。

碰撞後的火花

在歷史於當下的碰撞下，上海外灘美術館可以說是別有一番景致。首先是美術館的大

樓。歷史的沈澱，加上國際知名建築設計師的重新詮釋，上海外灘美術館不論從佈局、

實用性，還是美感上，都是歷史於當下的對話

。

在大樓的歷史上，作為中國最早的博物館之一，緊鄰原英國領事館，是上海外僑最早

的涉足之地。而大樓所在的外灘，也是原來的英法殖民地。在文化上，受到了西方文

化的很大影響。而如今，外灘作為上海地區的重要象徵，更是在人們心中有著不可磨

滅的地位。古今的歷史碰撞，作為外灘地區唯一的當代美術館，這裡也必然是中西當

代藝術交流的一個重要平台。

027/026

Contemporary Art: Art in the PresentIn May 2010, RAM officially opened. The opening exhibition Cai Guo-qiang: Peasant Da Vincis attracted attention across the field within the art industry. In this exhibition (removed comma) Cai Guo-qiang is not only an artist, but also a collector and a curator. Throughout the whole exhibition, Cai Guo-qiang, had a very planned approach, paying particular attention to space and proportion.

本 期 專 題

Cai Guo-Qiang (b. 1957, Quanzhou, China; lives in New York)Complex300x200cmCourtesy of the artist

當下的藝術

2010

年5

月，上海外灘美術館正式

開館，開館展《蔡國強：農民達芬

奇》在業界引起了轟動。而在這個展

覽中，蔡國強更多的充當的不單單是

藝術家，也是收藏者、策展人。整個

展覽，蔡國強對於分寸的拿捏，十分

小心。整個展覽，從各個方面都是精

心策劃的。

上海外灘美術館館長賴香伶說，外灘

美術館，扮演的是一個藝術傳播者的

角色，也是城市文化和當代藝術的交

流平台。正是這種立足於當下的時代

背景，立足於當下的藝術特點，立足

於自己特點的追求，上海外灘美術館

才可以在業界發展壯大。

025/024

Cai Guo-Qiang (b. 1957, Quanzhou, China; lives in New York)Tan Chengnian’s Plane Wreck, 2010

Introduction of RAMLocated in Bund area where Huangpu River intersects with Suzhou Creek, RAM was founded in historic and cultural heritage. The aim of RAM is to serve contemporary art and to bu ild an academic, professional and international communication platform to promote art.

The area of the exhibition space in RAM is over 1000 square metres, and the different height of the spaces gives more interesting inner view of RAM. In 2007, world-renowned British architect David Chipperfield was commissioned to renovate the Museum interior. Keenly aware of the building’s cultural heritage, the architect reshaped the interior with simplicity, grace, and functionality. Infusing the historical architecture with the spirit and character of modern art.

Historic TracesIn 1874, under the support of the Shanghai Municipal Council (SMC), the North China Branch of the Royal Asiatic Society raised money from local community and built its first permanent venue, a 2-floor building that had contained a library, a museum and a lecture hall. The Museum was also known as Shanghai Museum, one of the earliest established museums in China, with collecting natural specimens and cultural artifacts pertaining to China as its main tasks.

The museum building was completed in 1932, originally designed by British architect George L. Wilson. While its exquisite Art Deco exterior combines both western and Chinese elements, the interior – the lecture hall on the first floor, the library on the second floor and the museum exhibition halls on the third and forth floors – are done in different architectural styles, yet in all cases design complements function. It can be said that, from planning to raising the funds, from design to redesign and transformation in 2007, the architecture of RAM has it roots in the UK.

本 期 專 題

歷史的痕跡

外灘美術館所在的大樓為亞洲文化大樓，最初建於

1874

年，是英國皇家亞洲文化中國支會募集社會資金

建立的。當時，大樓內部設有圖書館、博物院和演講聽。

其中的博物院是中國最早成立的博物院之一─上海博

物院，它曾經是遠東地區中國標本和文物收藏最富、

影響最大、功能最全的社會教育和文化交流機構。

美術館建築完成於1932

年，由英國建築師G

eorge L. W

ilson

設計。

建築融合了中西文化的元素，典雅而

精緻的裝飾藝術風格。其二層的演講聽、三層的圖書

館、四至五層的博物館陳列聽，都具有不同的建築特

色，同時又是設計與功能的完美結合。可以說，從籌建，

到設計，再到2007

年的重新設計改造，上海外灘美

術館建築與英國的淵源是相當久遠的。

023/022

上海外灘美術館簡介

上海外灘美術館位於上海黃埔江與蘇州河交匯之處的外灘，是一個建立在歷史文化遺產之上，服務於

當代藝術的美術館，而他們的目標則是將自己建立成為一個“學術化，專業化，國際化”

的，推廣

與交流藝術的的國際平台。

上海外灘美術館過千平米的展示空間，不同的高度使得整個展館錯落有致。 2007

年，著名的英國建

築設計師戴維·

奇普菲爾德（D

avid Chipperfield

）接到了美術館的邀請，在保留原有建築的歷史性

的同時，重新塑造了內部空間，為這一歷史建築注入了現代藝術空間的精神和氣質。

上海外灘美術館外景Outside view of Shanghai Rockbund Art Museum

Rockbund Art Museum: Conversation Between Past And Present

Shanghai, as a metropolitan city, has its own historical stories and present glories. In the Bund area, an iconic place in Shanghai, Rockbund Art Museum (RAM) shines particularly as a historic building, in the context of history and contemporary art.

WRITTEN BY: SHORAN JIANGPHOTOGRAPHER: NAN LINBY COURTESY OF: ROCKBUND ART MUSEUM

本 期 專 題

上海外灘美術館─

歷史與當下的對話

撰文：姜嘯然

攝影：林楠 藝術作品圖片提供：上海外灘美術館

上海作為一個國際大都市，有著它過去的歷史和如今的風采。而在上海外

灘，這個標緻性地段的上，改建歷史建築後的上海外灘美術館，在歷史與

當下的藝術語境之下，顯得尤為耀眼。

021/020

上海外灘美術館外景Outside view of Shanghai Rockbund Art Museum

本 期 專 題

The Most Representative Non-profit Art Museum in China

Since its establishment in 2002,TAM has acquired more than 5,000 pieces of contemporary artworks of all media, includes the most established well-know Chinese contemporary artists’ artworks. TAM has become an important institution that records the developing path of Chinese contemporary art.

In many western countries, art museum is also a research institution. Studied from the western art museums, the Academic Committee department of TAM was established in 2007, which provided academic support to all the

exhibitions in TAM. Meanwhile, TAM Academic Centre has rich academic resources and experiences in hosting academic symposiums, the museum has long-term academic relationships with established critics, artists, curators and art dealers, and it has successfully hosted several dozen academic conferences and symposiums. Moreover, Art Today, as the museum periodical, first published in 2004, has become a platform to discuss Chinese contemporary art in the context of globalization.

As a non-profit institution, TAM set up a free visit day every month, which brings more people to the museum to appreciate contemporary art. Beside the museum periodical Art Today, TAM publishes Oriental Art Master and Oriental Art Chinese Painting bimonthly. These two magazines offer readers more opportunities to study art.

EpilogueIn this unique context of China, to run such a large non-profit private art museum is not easy. There are no relevant laws and regulations to observe, and there is no previous theory or practice to use. In the study of western art museum’s operation mode, combined with China’s characters, TAM indeed gives more ideas on how to run a art museum in China.

凱瑟琳尼爾森造物系列Catherine Nelson The creation series

019/018

最具代表性的非盈利

中國本土美術館

今日美術館自2002

年成立至今，收藏各類當代藝術作品

5000

餘件，成為紀錄當代藝術發展歷程的一個重要機構。其

中包括了中國當代藝術中最具代表性的藝術家們的知名作品。

在歐美許多國家，美術館同樣是一個研究機構。今日美術館，

秉承西方這一優良傳統，在2007

年，成立了學術委員會，

為今日美術館的展覽提供了學術理論支持。同時，今日美術

館舉辦了幾十場學術研討會，得到了學界的普遍認可。而《今

日美術》作為今日美術館的館刊，自2004

年創刊，探討中

國當代藝術在全球化語境下的發展變化 ，已經成為一個中國

當代藝術的學術平台。

費歐娜法莉《天堂之樂》 影像

Fiona Foley , Bliss,Video 2009

今日美術館展覽現場Exhibition displays of Today Art Museum

結語

而作為一個公益機構對於社會的回饋，每個月至少一次的免

費開放日，讓更多的人們進入美術館，去感受當代藝術。除

了館刊以外，今日美術館定期出版的藝術雜誌《東方藝術 ·大

家》和《東方藝術 ·

國畫》也為更多的讀者提供了學習研究藝

術的更廣闊的平台。

在中國這個獨特的語境之下，辦好這樣一個大型的非盈利的

民營美術館並不容易。沒有相關的法律法規的依靠，沒有先

人理論與實踐的支持。在學習西方國家相應美術館的操作模

式，結合中國本土特點之後，今日美術館確實為其他美術館

開拓了思路。

本 期 專 題

Growing Pains of the Not-ProfitAs the first private not-profit museum in China, TAM has encountered various problems. TAM has been always exploring its development way in variety of difficulties.

Different from the UK, Chinese creative industry has only developed for a very short time. In China, there are no clear relevant laws and regulations about creative industry. From this it can be seen that there is a huge distance between Chinese creative industry and that in the UK. The support from the government to TAM is mainly on policy field. Zhang Zikang, the Director of TAM, pointed out that in China there are no suitable tax laws for non-profit organizations, and limited sponsors prefer to choose other entertainment events to support. As a result, as a non-profit private art museum, TAM needs to find out its own way for development.

When talked about operation, Zhang Zikang has always insisted his own concept. “ As an art museum, especially a private art

museum, firstly, it is important to be a not-profit organization. Because only the collections become to a public source, not personal belongs to the investors, art museum can have fully support by government and society. Next, by following the standards of international art museum we need to build up high quality and operation system that is suitable for the art museum. The third one is to establish a healthy industry chain, a reasonable financing machinery and a self-contained working system to have parts of the funding source.”

TAM has collaborated with many international brand and held numbers of events with reputation. Combined with Chinese characters, by developing successful experience of western art museums, TAM set up a variety of membership for diverse people. Although membership system is not that popular in China, the membership system in TAM truly bring more people to the art museum and cultivate people’s love of art. Meanwhile, the Book Centre, Documentary Film Centre, Engineering Centre, Bookstore, Café and Gift Centre, which provide different range of service with their own team, can also grant the fund source for TAM.

017/016

“非盈利”的艱辛與成長

作為中國第一家非盈利的民營美術館，今日美術館遇到過各種各樣的問題。在各種

艱辛中求發展，今日美術館一直在探索一條可持續發展之路。

於英國不同，中國的創意文化產業發展的時間並不長。在相關的法律法規上，對於

創業產業的板塊，也並不明朗。雖然近幾年，國家已經開始扶植創意產業的發展，

但於英國這個創意產業大國相比，各個方面還相距甚遠。國家對於今日美術館的支

持，主要是在政策上。而資金反面，更多的是要靠今日美術館自己的運營體系。今

日美術館館長張子康指出，目前在中國尚還沒有適宜非盈利組織發展的稅收法律體

系，有限的贊助商又面臨來自其他娛樂項目的激烈競爭。這使得這個非盈利的民營

美術館要尋求自己的發展之路。

在運營理念上，張子康一直堅持者兼容並包的理念，他談到：“作為美術館，尤其

是民營美術館，首先在體制上要是非盈利的機構，因為只有美術館的收藏成為社會

文化資源，而不是歸投資者所有，才能的到政府的支持，得到社會的贊助與支持；

其次，按照國際美術館標準要求自身的展覽品質以及運作機制；再次，需要建立良

性的文化產業鍊條，擁有一部分自身的資金來源。”

在贊助商方面，今日美術館與多個國際知名品牌合作，舉辦了多個大型活動。

在結

合中國特點，發展了西方美術館的成功經驗後，今日美術館針對不同人群，設置了

多種會員體制。雖然會員機制在中國並不為大眾廣泛接受，但是今日美術館完善這

一做法，確實也是在培養大眾到美術館欣賞藝術的習慣。同時，今日美術館的圖書

中心、影像中心、工程中心、書店、咖啡廳以及一系列的藝術衍生品，都有自己相

對完善的團隊，為藝術工作者提供各種不同的服務，同樣可以補助美術館的資金來

源。

今日美術館展覽現場Exhibition displays of Today Art Museum

Today Art Museum IntroductionIn 2002, Beijing Today Art Museum (TAM) was founded by Zhang Baoquan, with a fund of 40 million RMB. TAM located in CBD in Beijing. Its building was a factory, and then re-designed by famous architect Wang Hui. This architecture shows the aesthetic style of the traces of old industrial era mixed with the contemporary concepts. Moreover, the permanent outdoor installation Viewing the Exhibiiton by artist Wang Jiangwei, which is designed according to the characters and functions of the building and the surrounding environment, adds more flavours and taste to the architecture.

The most significant feature of TAM is that it is a non-profit private art museum. As the first private art museum that is

constructed and operated in compliance with the international art museum norms, TAM quests for the developing mode for non- public operating museum actively. In July 2006, TAM successfully transited into a non-profit organization.

TAM aims to impulse Chinese contemporary art. ‘Today’ is not only referred to present, but also the past and the future. Today’s art achieves in the past and creates the future. TAM gives attention to Chinese contemporary art, art genres and key artists, develops the exchanges among different fields, and promotes the interaction between domestic and foreign artists, art institutions and art activities. At the same time, TAM pays attention to the finding and planting of the young artists, which is to promote the artists, art institutions and art movements inside and out side contacting continually.

今日美術館概況

今日美術館於2002

年建成，由地產大亨張寶全先生斥資4000

萬元打造。今日美術館位於北京CBD

中心區域，現在所在的大

樓曾是一間工廠，後是由著名設計師王暉主持設計改造的，舊工

業時代的痕跡與當代理念的對接呈現出獨特的美學風格。而美術

館樓頂的永久性戶外裝置作品“看展覽”，是藝術家汪建衛與

王暉深入交流後，根據建築的特點、功能與周圍環境，為今日美

術館打造的一間藝術作品，為美術館大樓平添一份情趣。

今日美術館最大的特點在于它的性質──民營非盈利性。它是中

國第一個按照國際美術館規範建設和運營的純民間美術館，在發

展方向上，獨辟蹊徑，在2006

年7

月，今日美術館成功轉型為

真正意義上的非盈利機構。

今日美術館致力於推動中國當代藝術的前進。所謂“今日”，

不僅是當下，同時也是過去和未來。今日成就於過去，而造就出

未來。在關注中國當代藝術、當代藝術流派、關鍵人物的同時，

今日美術館通過誇界交流，促進國內外的藝術家、藝術機構、藝

術活動間的互動。同時，也在今日傳播藝術，挖掘年輕藝術家，

為未來中國藝術的更加繁榮推波助瀾。

015/014

今日美術館二號館外景Outside view of Today Art Museum

今日美術館展示空間Exhibition space of Today Art Museum

本 期 專 題

Beijing Today Art Museum, the first non-profit private art museum in China, has been attracting attention in the field. The museum aims to promote Chinese contemporary art based on an internationalized vision and a contemporary ideology. As the first non-for-profit, non-governmental run art museum in China, it dedicates to explore an appropriate development strategy for museums of its kind within a Chinese context.

Today Art MuseumThe Growth and Hope of Non-Profit Private Art Museum WRITTEN BY: SHORAN JIANG

BY COURTESY OF: TODAY ART MUSEUM

今日美術館

民營的非盈利美術館的成長與希望

撰文：姜嘯然

圖片提供：今日美術館

今日美術館是中國第一家民營非企業公益性美術館，自2002

年

創建以來，一直收到各界的矚目。今日美術館一直致力於積極參

與並推動中國當代藝術的前進和發展，現代性的視野、國際化的

平台、規範化的運營，都為探詢一條適合中國民營美術館的生存

發展之路做出了自己的貢獻。

013/012

今日美術館外景TOutside view of Today Art Museum

固 定 欄 目

However, the art exchange launched Bai Genyan’s other 7 artworks and a diamond last week. The supplier and agent is still Tianjin Hua Zan Cultural Artwork Investment Company. It’ll be very dangerous when in a market, the platform, the supplier and the supervision system all can’t keep independent and can’t against monopoly.

Actually, the art exchange is not a new idea. Several years ago, there was a company called Intrade whose art trading is based on Mei-Mose art index. However, Intrade’s business is more for entertainment as its areas covers other political, technological and pop star events. Though trading infrequently, by using art index as benchmark, it can avoid the deviation of investment judgment from the real art market.

This February, a French company also launched art exchange where public galleries offer artworks that also sell in separated shares. Though more transparent, the lower liquidity than that of Tianjin’s weakened the performance. What’s more, the western collectors are very mature who are not passionate for the pseudo-collecting popular experience. Now, the art exchange is still trying to survive.

In Mainland, Shenzhen art exchange launched 94 artworks by Qi Baishi and Zhang Daqian for sell as financial assets last May. It also introduced Yang Peijiang’s 12 artworks as one asset package and sold by shares last July. Shanghai art exchange also provided Huang Gang ‘s art right shares whose holding period will be 5 years.

Zhengzhou would be the next to launch its art exchange.

In comparison, the Tianjin art exchange focuses on single piece of artwork, which may be more easily manipulated by capital. It would be more relevant to the real art world if the sample expanded from single work to group of work and to the whole art index. The T+0 instant trading and zero entry permission in Tianjin art exchange fully increases the liquidity, and thus, increases the risk.

Art stock as a new art investment method aims to attract more people involved and increase liquidity, which helps to solve the weakness of art investment while still keeps its character. Being a beneficial addiction for art market, art stock will have a bright future in huge potential. However, the art financialization, in whatever level, should base on the proper art value judgment and operate in a fair and open supervision system. When lack of these musts, the art exchange would become the heaven for speculation and hotbed for corruption and money laundry, which would do harm to the art market and social environment.

Now, the art exchanges in China are making progress with no instruction. It’s acceptable when minor problems appear. With more and more attention paid, it’s no doubt that the art exchange will keep improved to make the Chinese art market more attractive.

011/010

而上周,

文交所又推出了白庚延的另外七幅作品

和一顆鉆石。代理商依然是天

津華贊文化藝術

品投資公司。當一個市場,

其交易平臺,

供應商

和監督系統都

無法保持獨立性和非壟斷性的話,

其發展前景是非常危險的。

其實,

藝術股票並不新鮮。幾年前就有一家叫

Intrade

的公司對梅摩藝術指數進

行交易。但

這家公司的業務更帶有娛樂性,

還涉足政治、科

技、明星等事件的

指數化交易,

交易較不頻繁。

不過它以藝術指數為標的則不會使投資判斷脫

離

藝術市場實際。

今年 2

月,

法國一家公司也推出了藝術證券交

易所,由畫廊提供作品,

作品也

是進行分拆出售

份額。雖然該系統公開性高,

但流動性較差,

不

像天津文交所 那樣可以即時交易。更重要的是,

西方的收藏觀念已經很成熟,

對於這種親民

的

偽收藏體驗並沒有太多的熱情。因此,

目前,

該

交易所還在低調嘗試。

國內的深圳文交所去年 5 月就將齊白石、張大

千的 94

幅作品作為理財產品發行。 7

月,

又

將楊培江的 12

幅作品作為一個資產包分拆上

市。上海文交所也推出了

黃鋼的藝術品產權份

額,

續存期為 5

年。鄭州也在積極準備文交所。

相比之下,

天津文交所關註單件作品更容

易受資金操作,

如果擴大標的樣本,

從作

品到作品組合再到整體指數則能更貼合藝

術市場的發展規律。天津文交所

的 T+0

交易和投資準入零門檻更是全面釋放資金

流動性而加大了投機風險。

藝術證券化作為一種新的投資模式降低了

藝術準入,

使更多的人能參與。並且

增加

了流動性,

保持藝術投資魅力的同時改進

了藝術投資變現難這一軟肋。應

該說,

藝

術證券化作為整個藝術市場的有益補充,

今後有很廣闊的前景。但是

再怎麽證券

化也必須以藝術標的的合理價值判斷作為

基礎,

還要建立公正公開

的運作體系來監

管。缺少了這樣的基本理念,

藝術交易所

則會淪為投機圈錢的

工具,

貪腐洗錢的溫

床,

這對於整個藝術市場和社會環境都是

非常不利的。

目前,

我國的文交所都是在試驗中前進,

出現一些問題也在所難免。相信隨著

各

方越來越多的重視,

文交所會不斷改進,

讓中國的藝術市場更具魅力。

Art Exchange

WRITTEN BY: ARTTACTIC

固 定 欄 目

The New Heaven for Speculators?

With the links between art and capital becoming closer and closer there years, the demand for art financialization is turning into practice. Different financial tools and methods are actively introduced into art trading. Several years ago, the bull market witnessed the confident emerge of art investment funds while the bear market experienced their sudden disappearance. Now, there comes new art investment tool: art exchange.

In January 2011, Tianjin Cultural Artwork Exchange was launched, which responds the appeal of the national government’s art market development strategy. The art exchange is completely the copy of stock exchange. It’s just the pieces of artwork instead of pieces of stocks. The art exchange approves the artworks that are planning for sell. After the evaluation by third party, the artwork will be separated into shares for equal price. The art exchange will release announcement and welcomes successfully registered investors for subscription and purchase. Opening each working day, the art exchange offers client software similar to that of stock exchange to assist the investors to buy and sell shares. The first two artworks for sell are the Chinese painting works by Bai Genyan which valued 5 million CNY and separated into 5 million share as priced 1 Yuan for one share. By 14 March, the art stock’s price has reached 12.9 Yuan, which suggests the investment generate 1190% return in less than 2 months. This obviously runs against the market rule and shows strong speculation.

The craziness is highly related to Chinese art market and capital flow. With the open of the art market and the establishment of infrastructure, China has enjoyed the boom leading by auction since 2005. While other art market suffered a lot in global financial crisis, the

Chinese art market, driven by different force, enters into a much more strong boom. One important force that pushes the hot money into the imperfect but juicy art market is the high inflation in Mainland and weak return from other investment. But obviously, there are more speculators than investors.

The irrational understanding on art value and unprofessional operation also blows the bubble. In November last year, a Chinese buyer purchased a Qing Qianlong vase in London Bainbridge auction for ¥550 million which became the new world record for Chinese artwork. However, the estimate was only £1 million. Besides, the imperfection of auction law gives opportunity to fakes and sensationalization, which do harm to the development of art market.

In this environment, the eye-catching launch of art exchange hasn’t made positive effort to the diversification of risk avoidance for art market. Instead, it helps the speculators to blow the bubble.

Let’s take the artist Bai Genyan on sell for example where only the proper marketization excluding academic value is discussed. Before the autumn 2010, all of his single work sold less than ¥500,000 while in December 2010, just one month before the launch of art exchange, three artworks suddenly brokethrough the 1 million level with the top one reached ¥3.9 million, which proves the possibility of speculation. The evaluation of 5 million in the art exchange is also arguable. According to Bai Genyan’s art career and age, his art style should have established which should not generate big float in price. This makes it difficult to believe the quality and independence of the third party evaluation.

藝術交易所

投機者的新天堂?

撰文：A

rtTactic

009/008

隨著這幾年藝術和資本的關系越來越緊密,

對藝術金融化的需求不

斷地變成現實。各種金融領域的工具和方法都在積極地引進到藝術

交易中。幾年前藝術基

金在牛市中迎來了發展高峰,

但在熊市後部

分退場,

進行反思。而現在,

又出

現了新的藝術投資工具:

藝術交

易所。

2011

年 1

月,

中國天津市推出了天津文化產權交易所。此舉是為

了響應國家為

藝術市場大發展的號召。文交所完全是證交所的復制,

只不過一支支的股票變

成了一幅幅的藝術品。文交所對申請“上

市”的藝術品進行審批,

由第三方進

行估值,

將藝術品拆分成一定

數量的股份,

每股為均價。然後文交所發布公告,

註冊合格的投資

者進行認購和申購。文交所每個工作日開放,投資者可通過類

似證

交所的客戶端對股份進行購買和出售。

首批上市的是兩幅天津藝術家白庚延的水墨作品。藝術品估價 500

萬人民幣,

拆分成 500

萬份,

每份 1

元。截止 3

月 14

日,藝術

“股票”價格已達 12.9

元,

短短一個多月,

這項投資已經有了

1190%

的回報。顯然,

這已違背了市場規律,

有明顯的投機行為。

這樣的瘋狂和中國藝術市場和資本流向有著密切的關系。隨著藝術

市場的開放

和基礎渠道的建立,

中國從 2005

年開始已拍賣為主導

進入牛市。全球金融危機

過程中,

當其它藝術市場表現慘淡的時候,

中國藝術市場受多方驅動而進入更

大一輪的牛市。這其中,

因目前

國內通脹嚴重、其它投資品種表現一般而將熱

錢湧入尚不規範但機

會多多的藝術市場是一個非常重要的因素。但投機顯然比

投資占了

更大比重。

對藝術價值的非理性認識和非專業操作也使藝

術價格虛高。去年 11

月,

有一中

國買家在倫

敦 Bainbridge

拍賣行花了 5.5

億人民幣拍得

一清乾隆粉彩鏤空瓶,

創造了中國藝術品的世界

記錄。而這件作品的估價僅為一百萬英鎊。除此

之外,

拍賣市場的法律不健全使得贗品和炒作盛

行。這些對藝術市場的發展都有害無

益。

在這樣的大環境下,

文交所的高調亮相並沒有為

藝術投資的多元化和分散風險

起到積極的作用,

反而幫助投機資本把中國藝術市場泡沫越吹越

大。

以文交所上市的白庚延為例,

我們不討論學術價

值,

只分析市場的合理性。 2010

年秋拍之前,

其單幅作品價格不超過 50

萬,

而 2010

年 12

月,

即文交所

上市前一個月,

白庚延有 3

幅作品

一下子突破百萬大關,

最高價達三百九十萬。

顯

然炒作跡象明顯。而對於文交所上市的作品估價

五百萬則更讓人質疑。根據

白庚延的藝術生涯

歷程及年齡,

其作品風格早已定型,

因此不應該

有巨大的波

動。文交所的第三方估值的能力和

公信力讓人無法信服。

Cola Project Initiated by He Xiangyu in 2008, the Coca Cola Project plays a seminal role in the understanding of the artist’s body of works and practice. With a stark simplicity, the artwork may lead the audience to wonder why the idea had not already been done before.

For the work, the artist simply boils Coca Cola soft drink until a dry, lava-like paste is achieved. The resulting organic sludge no longer holds any aspect of its original industrial product or its American ideological symbolism. By boiling it, the artist strips away all the cultural significance of the original product and allows it to return to nature. The vibrant result is a meditative, fragile work.

Jade Skeleton This latest piece is the artist’s most impressive effort to date. Working as a Chinese "Memento Mori", created from jade, this life-sized human skeleton plays with the contradiction of the stone’s traditional symbolism of longevity. Through its precocity, this superlative artwork is at once dense and fragile, reaching a sacred dimension.

玉骨架

Jade Skeleton

可樂計劃Cola Project

固 定 欄 目

可口可樂項目

於2008年由何翔宇開創的可口可樂項目對於我們理解這位藝術家大量的作品和創作實踐起著關

鍵作用。具有鮮明簡單性的藝術品使觀眾們禁不住發出這樣一個疑問：為什麽以前沒人做過這樣

的嘗試呢？

為了創作需要，這位藝術家將可口可樂飲料煮成一種幹燥的熔巖狀糊狀物，那麽得到的有機沈澱

物便不再具有本身的工業產品性質，也不再象征美國意識形態。通過將其進行烹煮，這位藝術家

去除了產品本身所承載的文化含義，讓其重新回歸自然，從而創造出一件發人深思的精美作品。

玉骨架

最近問世的這件作品是迄今為止凝聚這位

藝術家最多心血的作品。這件實際大小的

玉制人體骨架正如中國的“死兆”，與

石頭象征長壽的這一傳統觀念產生了矛盾。

這件登峰造極的藝術品，講述著永恒與死

亡，瞬間讓人同時感受到厚重與脆弱，神

聖感油然而生。

固 定 欄 目

何翔宇東巴系列Works of He Xiangyu's Dongba Series

Dongba WorksThe obsession of recollection previously mentioned is the most visible with the Dongba works. Fascinated by the Dongba culture originating from the Naxi minorities in Lijiang, the artist uses these cultural elements as a starting point in his creative process.

At first glance, these works seem to be authentic antiques simply collected by the artist, however, they are not. Working with a team of artisans based in Yunnan, He Xiangyu uses century-old chunks of wood to design and create new functional and non-functional pieces, such as chairs, tables and wheels.

Through this distortion and re-elaboration, the artist creates a contrast between tradition and the practices and cultural environment of today. By breathing life back into these traditions, the artist avoids stigmatizing them by anchoring them to the past.

By re-enacting these traditions and dangling his work between antiques and contemporary design, He Xiangyu questions our perceptions of the very nature and shape of objects and where they exist in time.

In this second Dongba project, He Xiangyu is using an ancient culture to question the formalist approach to light, shape and medium. Visual pictograms and signs from the Dongba culture are first combined on paper or on canvas. The painting is then inserted in a glass frame. Inside the frame, wires cross in the space. The light then interacts with the wires through holes in the glass, creating a very complex but seemingly minimal piece of art in which the colour decomposes on the canvas.

The accumulation of forms and their organization on the support create a non-linear narrative structure within the artwork. The signs, guided by lines and abstract shapes borrowed from Western minimalism, combine to create visual sentences. As with an astrological system, the signs leave their interpretation to the audience.

The Artworks

005/004

藝術品

東巴系列

前文中提到的何翔宇對傳統元素的癡迷在東巴系列中體現得淋漓盡

致。對源於麗江納西少數民族東巴文化的深深迷戀使這位藝術家在自

己的創作過程中吸納了東巴文化元素作為自己創作過程的起點。

乍一看這些作品似乎僅僅是這位藝術家收藏的古董真品而已，但是其

實不然。何翔宇與一批紮根雲南的能工巧匠進行合作，采用一塊塊的

百年老木來設計和制作了功能和非功能性的藝術品，如椅子、桌子和

車輪。

這位藝術家通過一些變形和加工手段，使傳統和當代的實踐與文化環

境形成了鮮明的對比。他為這些傳統元素註入了新活力，而不是使它

們受到傳統的束縛而停滯不前。

何翔宇重新審視了這些傳統元素，

使其遊走於古董和當代設計之間，對我們有關物體的本質、形象以及

它們在時間裏存在的觀念提出了質疑。

在他二件東巴項目中，何翔宇借助一種古代文化來對形式主義對於

光、形象以及介質的處理提出了質疑。源自東巴文化的視覺象形圖和

符號首次在紙張或畫布上得到了結合。圖畫被嵌入了線路交織的玻璃

框架中。這樣，光線就通過玻璃裏的孔和那些線路相互感應，形成一

副非常復雜的極簡藝術派作品，而它的色彩最終在畫布上瓦解。

形式的積累及其在畫架上的排列在藝術品內創造了一種非線性的敘

事結構。這些符號在西方極簡主義線條和抽象形狀的引導下結合成了

視覺語言。這些符號就像星象圖一樣，留給觀眾無盡的想象空間。

WRITTEN BY: JEREMIE THIRCUIR

An Introduction to He Xiangyu’s works

固 定 欄 目

何翔宇作品Work of He Xiangyu

Presentation Now at the end of the 21st century’s first decade, at a time when the contemporary art scene seems to be looking for a new breath of life and a fresh conceptual framework, a new guard of artists is emerging in China.

This group of innovative artists is re-establishing the historical link between art and spirituality, between the material and the spiritual, and connecting the present with traditions from the past. A key member of this movement is He Xiangyu.

Though born during the 1980s, He Xiangyu does not fit in with the “post-’80s” generation and squarely contradicts the work of many of his contemporaries. Instead of following rank and file into the passive, materialistically bred generation, He Xiangyu is taking the counterpoint to this phenomenon by collecting the past and regenerating it through the filter of contemporary art practices. His collection is active, one that re-enacts the past, and makes it exist again.

After studying the myriad historical, cultural, symbolic and physical meanings and feelings produced by these objects, He Xiangyu then attempts to redefine and alter the inner significance and reality of the objects. The artist creates a dialectical inquiry into the philosophical and social aspects of the Chinese object.

Far from the coldness of the current post-minimalist trend, He Xiangyu creates a kind of new minimalism anchored in Chinese traditions. This simplicity is reflected in his creative process. For each piece, the artist selects one material as the focus. He then works to remove the meaningless and visually unnecessary elements in order to distil the essence of the material. Borrowing from the “Arte Povera,” the emphasis is placed squarely on the process and the materials.

The lack of an “artist’s touch” allows He Xiangyu to disappear in his works. The artist puts himself above the piece as an active but invisible mediator between the spiritual and the material. Though a very young artist, He Xiangyu has already produced

a body of work with an impressive consistency and coherency. The following examples illustrate how the artist proceeds in the creation of this grammar of an object.

何翔宇

藝術作品簡介

撰文：傑瑞米（Jerem

ie Thircuir

）

003/002

簡介

在21

世紀第一個十年之末，當代藝術似乎正在尋找全新的活力和概念框架，而中國也湧現出一批

新風格的藝術家。

這群富有創新精神的藝術家正在努力建立藝術和精神以及物質與精神之間的歷史聯系，將當前和歷

史傳統連接起來。這場活動中的主要人物就是何翔宇。

雖然生於80

年後，但是何翔宇卻與“80年後”的一代格格不入，甚至和許多同齡人的作品產生

了抵觸。何翔宇並沒有隨波逐流，成為消極頹廢和愛慕虛榮的80

年後，而是在努力抵制這種風氣。

他通過吸收傳統元素，在當代藝術創作中對傳統元素註入了新的活力。他對傳統元素的積極吸收不

僅使這些傳統得到了重新審視，而且使它們得到了重生。

在研究了這些作品所蘊含的各種歷史、文化、象征與物質含義及意識後，何翔宇試圖重新定義和改

變這些作品的重要性和現實性，辯證地探究中國藝術作品的哲學性和社會性。

擺脫當代後極簡主義的冷漠之後，何翔宇創造了一種新的極簡主義與歷史傳統遙相呼應。這種簡

單性在他的創作過程中得到了充分體現。對於每一件作品，這位藝術家都選擇一種素材作為重點，

然後再設法省略其中一些無意義的不必要元素，以提煉出中心素材的精髓。

通過對“貧窮藝

術”的借鑒，他把明確的重點放在了創作過程和素材上。由於缺少“藝術家的潤色”，何翔宇

得以隱匿於自己的作品當中。這位藝術家置身於作品之上，成為物質和精神之間積極而隱形的“介

質”。

雖然是一位年輕的藝術家，但是何翔宇已經創作了大量作品，這些作品的一致性和內

聚力給我們留下了深刻的印象。以下的作品將向我們闡釋這位藝術家是怎樣不斷創造物體的表達

語言的。

固定專欄

028

020

036

002何翔宇藝術作品簡介

An Introduction to He Xiangyu

’s works

藝術交易所：投機者的新天堂?

Art Exchange : The New Heaven for Speculators?

今日美術館—

民營的非盈利美術館的成長與希望

Today Art Museum

: The Growth and Hope of Non-Profit Private Art M

useum

上海外灘美術館—

歷史與當下的對話

Rockbund Art Museum

: Conversation Between Past And Present?

故事還在繼續—

尤倫斯當代藝術中心

Story Continues— Ullens Centre for Contem

porary Art

民生現代美術館—

功利還是公益？

Minsheng Art M

useum: For Profit or for Public?

EX

CL

USIV

E

CO

LU

MN

SPE

CIA

LF

EA

TU

RE

每期專題

002...

008...

012...

020...

028...

036...

目錄