APSMUSEUM论坛回顾 | 解决对“当代艺术”的疑问
《新山海经1》特别放映
“关于当代艺术你最想了解的是什么？”论坛现场
Last week we conducted a public survey for artist Qiu Anxiong on two questions (What do you want to know the most about contemporary art? What do you find most puzzling about contemporary art?) We have selected and divided the questions we received into four topics: criteria for judging contemporary art, on art practice, the relationship between art and the public, and the art market. The two guest speakers shared their experiences of working in the art industry with us and their responses to the questions.
We have compiled the key points made by Qiu Anxiong and Sonia Xie during the forum.
To watch the complete video of the forum, press on the QR code.
Art is a tool for spiritual communication, and like language, contemporary art adopts a different language with different grammatical rules than traditional art. If you try to look at contemporary art using traditional art language standards, you will not understand it. You would if you adopt its language. 要了解当代艺术，需要时间积累观看和学习经验。跟学习一门语言是一样的。
To understand contemporary art, it takes time to accumulate viewing and learning experiences. It's the same as learning a language.
欣赏艺术最终是一种主观感受，选择自己喜欢的作品是简单可行的办法。
Appreciating art is ultimately a subjective experience and choosing the works you enjoy is a practical and straightforward way to do it.
If a work moves you, you’ve already understood it to some extend.
谢斯曼
Sonia Xie：
Contemporary art does not necessarily rely on the viewer’s sight; often, it is more important to engage all of one’s senses. There isn’t a standard or the right answer. The right to interpret a work of art should be left to the audience.
The word contemporary includes the term temporary. Contemporary art is a temporary and provisional term, but today it is an art form based on multiculturalism within Western democratic ideology. Generally, it has evolved from modernism, which seemed to respect individual or collective expressions. In actuality, it is still the Euro-American discourse that dominates the art world.
摄影以及电影或录像这些动态图像媒介是发明几十上百年后在艺术界还被称为“新媒体”，艺术界对新事物的定义是够滞后的。
Photography and the media of moving images such as film or video are still called "new media" in the art world decades or centuries after their invention. In this sense, the terminology in the art world seems to be lagging.
没有评判标准就是当代艺术的评判标准。
The absence of the standard of interpretation in contemporary art is its standard.
很多当代艺术作品趋同的原因是创作者没有找到不同的方式。
The convergence of many contemporary art practices is an outcome of the artists’ undiscovered directions.
谢斯曼
Sonia Xie：
社会生产力的变化、社会消费关系的变化都会对文学、艺术等创作者产生影响。
新的媒介出现挑战了创作的边界、作者性、交易方式、收藏等艺术行业现有的规则和认知范围内固有的标准，它会引发质疑，但并不会阻碍艺术创作的发展，它们会撼动艺术世界的权利关系。
The emergence of new media challenges the art industry's existing rules and standards, such as the boundaries of artistic practice, authorship, modes of exchange, and collections. It would trigger skepticism without hindering the advancement of art practice and shakes the power relations in the art world.
对于艺术家的判断有一点比较重要的是他有没有在创作的观念上有所突破。那些在艺术史称之为伟大的、留名的艺术家，他们做的事情都是突破性质的——观念上的突破。艺术史中每一个被定义的时代都是有一两位艺术家去推动的。放在当代也是一样的。
One of the most critical aspects of evaluating an artist is whether or not he has made a conceptual breakthrough in his work. The artists who have been esteemed outstanding or left a mark in the history of art are engaged in subversive practices – particularly in ideas and concepts. One or two artists have driven every defining era in art history. It's the same in contemporary.
艺术家可以不去解释自己的作品，但要有能力去解释。
An artist does not have to explain his or her work, but he or she should have the ability to do so.
任何时代创作艺术都有难点，创作当代艺术的难点跟其他任何时代本质上没有区别。
The difficulty in creating art in any era is essentially the same across time, and the obstacles in making contemporary art are not any different than the other times.
艺术创作是否有突破是我们对艺术家的一个重要的评判标准，传统艺术的风格演进是很缓慢的，创新也是缓慢推演的，但是今天的当代艺术处于创新的通货膨胀中。
One of the most important criteria by which we evaluate an artist is whether or not he/she has made a breakthrough in his/her art practice. The styles of traditional art evolved slowly, and so did innovations; however, today's contemporary art is amid inflation of innovation.
中国的当代艺术是一种被殖民吗？Of course，被殖民的不止艺术。问题是我们自己对别人能输出有价值的文化内容吗？
Is contemporary art in China a kind of colonization? Of course, art is not the only colonized aspect. The question is then whether we can export valuable cultural content to others.
当代艺术不一定要用社会新闻来创作作品，创作也没有一个公式。
Contemporary art doesn't have to adopt from social events, and neither does art practice adopts any formula.
成为一个好的艺术家就不会饿死，其他行业同理。
Be a good artist, and you won't starve; the same goes for other industries.
谢斯曼
Sonia Xie：
In this era, the medium of communication for artists has changed. Many artists have set up their art market through social media platforms, using Andy Warhol's saying, "Everyone can enjoy a fifteen minutes fame.”
当代艺术的创作、学习艺术的方法论被殖民的现象是很严重的。
The phenomenon of colonization is serious in contemporary art practice and the approach to studying art.
被大众认可不一定被权威认可，反之亦然。自己玩儿和被权威认可在传统意义上就是业余和职业的界限，但是今天这个分界越来越模糊，也不一定要被权威认可。
Being recognized by the public does not necessarily mean being recognized by the authority and vice versa. Playing on one's own game and being recognized by authority mark the distinction between amateur and professional in the conventional sense. Today, this boundary is becoming more blurred, and one’s art practice does not necessarily aim for authoritative recognitions.
不是当代艺术家要迫切跨界合作，就算有迫切的想法也没有办法实现，艺术家是被选择的一方，没法迫切。事实是越来越多的商业品牌在积极的寻求艺术家联名来提升品牌价值。
It's not the contemporary artists who are eager to collaborate with other disciplines even if they have urging ideas; they often lack the means to realize them; the artist is often the object of choice, who lacks urgency. The fact is more and more commercial brands are actively seeking artists' representations to enhance their brand value.
谢斯曼
Sonia Xie：
这种状态让当代艺术有了一个接近大众的渠道，让更多的人了解到艺术家和艺术作品；另一个角度就是它也有一定的副作用，在这样的合作里面，艺术家和艺术作品变为了“装饰物”。
This state of affairs affords contemporary art a channel to reach out to the public and allow more people to get to know about the artists and artworks; from another perspective, it also presents side effects, that the artists and artworks become "ornaments."
刚起步的艺术家的未来可能他自己也不知道会怎样，如果一定要看就看他对艺术的专注和毅力吧。
价格是市场需求决定的吧。
投资是个金融行为，跟艺术本身没有太大关系了。
谢斯曼
Sonia Xie：
新媒体作品本身就很难被收藏，在二级市场(拍卖和其他的私洽交易)流通比较好的作品通常都是传统媒介。
New media works are inherently challenging to collect, and the artworks that circulate well in the secondary market (auctions and other private sales) are usually in traditional media.
作品的价值和价格完全是两件事，有时候艺术市场的价格并不能体现艺术作品的价值。
The value and price of artwork are two different things, and sometimes the art market price does not reflect the value of the work of art.
永远不要把买艺术品当作一种投资。
Never consider buying art as an investment.
艺术品的收藏其实是对艺术家的支持，尤其是对年轻艺术家而言，可以与艺术家一起成长。
Collecting art is a way to support the artist, especially for young artists, which allows you to mature with the artist.
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论 坛 嘉 宾
Guest Speakers
邱岸雄，1972年出生于四川，1994年毕业于四川美术学院，2003年毕业于德国卡塞尔艺术学院，现任教于华东师范大学设计学院。作品涉及动画，绘画，装置，录像等不同媒介。其作品以中国传统人文精神结合新媒体形式表达其对当代社会批判以及对历史文化的思考，代表作品有动画片《新山海经》，《民国风景》，《山河梦影》，影像装置《为了忘却的记忆》。于2007年创立“未知博物馆”，是近年当代艺术生态建设中的活跃力量。
邱岸雄最新的作品包括大幅的绘画，动画, 以及录像装置。如邱岸雄2006年的作品《新山海经》是由千余张水墨画联接而成的动画作品。这件作品的名字本身就取自中国的传统神话《山海经》。除了研究中国传统文化与现代文化间的相互影响，整个作品同时具有梦幻的色彩：细致明确的图像加上让人难以置信的叙述，忠实地描绘了我们所生活的荒谬的周遭世界。
作品为纽约大都会美术馆，纽约现代美术馆(MoMA)，纽约布鲁克林美术馆，哥本哈根Aken现代美术馆，香港美术馆，堪萨斯大学Spencer Museum, 东京现代美术馆(MOT),奥斯陆 Astrup Fearnley现代美术馆，苏黎世Kunst Halle，悉尼白兔美术馆，香港M+当代美术馆，余德耀美术馆，上海当代艺术博物馆收藏
Qiu Anxiong’s recent work consists largely of paintings, animations, and video installations. In the 2006 piece The New Classic of Mountains and Seas, for example, Qiu employs multitudes of ink drawings and links them together in an animated form. The title itself refers to the ancient Chinese mythology Classic of the Mountains and Seas. Besides investigating the interaction between ancient and modern Chinese culture, this work and others like it have a dreamlike quality: the clearly delineated images framed by unbelievable narratives faithfully depict the absurdity of the world around us. This link to the everyday further enhances the political value of the work, which engages in a damning criticism of environmental degradation, social breakdown, and massive urbanization. Unlike younger artists, Qiu Anxiong does not indulge in the personal pleasures of the everyday, but rather takes the undifferentiated mass of history as his raw material.
Selected Public Collection Metropolitan Museum of Art, New York, Museum of Modern Art New York. Art Museum of Brooklyn, New York Spenser Museum, Kansas University Museum of University Oxford, Kunst Halle Zurich, Museum of Contemporary Art Tokyo, Art Museum Hongkong, Astrup Fearnley Musum of Modern Art, Shanghai Contemporary Art Museum.
谢斯曼Sonia Xie
Artsy 中国区内容与营销总监。
谢斯曼，艺术史学者，新闻工作者，写作者。其现任线上艺术品交易平台及媒体 Artsy 的中国区内容与营销总监，此前她曾担任《艺术新闻/中文版》副主编，并长期为主流知名媒体撰稿，包括《三联生活周刊》、Sixth Tone、Nowness、《Wallpaper》、《ELLE》、《KINFOLK》、《生活家》等。她于美国惠顿文理学院获得艺术史、意大利研究及新闻学本科学位，于英国华威大学获得艺术史硕士学位。
Head of China, Editorial and Marketing, Artsy
Sonia Xie is an art historian, journalist and writer. She is the China Head of Editorial and Marketing at Artsy, the leading technology platform in the art world, the magazine of which is the most widely read online arts editorial in the world. Prior to joining Artsy, Xie was the deputy editor-in-chief at the Art Newspaper China. Xie is also a regular contributor to influential media including Life Week, Sixth Tone, Nowness, Wallpaper, KINFOLK, Arbiter and ELLE. Xie received her bachelor’s degree in Art History, Italian Studies and Journalism, from Wheaton College (MA), and her Master of Arts in Art History, from University of Warwick.
“空间领导者ENSEMBLE URBAIN”
展览攻略⚙️⚙️⚙️
展览日期：2020.11.12 - 2021.02.28参观时间：10:00 - 22:00，21:30停止售票/入场展览地点：APSMUSEUM，上海陆家嘴中心L+MALL三楼301
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票种 | 购票时间及使用时间 | 票价 |
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空间领导者 | APSMUSEUM开馆展
ENSEMBLE URBAIN | APSMUSEUM Opening Exhibition
总策划：汪斌
General Organizer: Robin Wong
策展人：徐震
Curator: Xu Zhen
艺术家：安尼施·卡普尔、丁乙、莫娜·哈透姆、何岸、詹姆斯·特瑞尔、李汉威、陆兴华、米开朗基罗·皮斯特莱托、邱岸雄、施勇、汪建伟、王梓全、徐震®、杨振中、展望
Artists：Anish Kapoor, Ding Yi, Mona Hatoum, He An, James Turrell, Li Hanwei, Lu Xinghua, Michelangelo Pistoletto, Qiu Anxiong, Shi Yong, Wang Jianwei, Wang Ziquan, XU ZHEN®, Yang Zhenzhong, Zhan Wang
展期：2020.11.12 - 2021.02.28
Duration: 2020.11.12 - 2021.02.28
地点：APSMUSEUM，上海陆家嘴中心L+MALL三楼301
Venue: APSMUSEUM, No.301, Floor 3, L+MALL, Shanghai
联合主办：欣稚锋艺术机构、陆家嘴中心L+MALL
Organizers: Art Pioneer Studio, L+MALL
支持单位：上海中外文化艺术交流协会、上海市建筑学会、中华文化促进会、上海新华传媒股份有限公司
Support: Shanghai International Cultural Exchange Association, The Architectural Society of Shanghai China, Chinese Culture Promotion Society, Shanghai Xinhua Media Co.,LTD
特别鸣谢：佩斯画廊、里森画廊、常青画廊、没顶画廊、香格纳画廊、长征空间、白立方、马刺画廊
Acknowledgement: Pace Gallery, Lisson Gallery, GALLERIA CONTINUA, Madeln Gallery, ShanghART Gallery, Long March Space, White Cube, Spurs Gallery
APSMUSEUM是由欣稚锋艺术机构(Art Pioneer Studio)及其创始人汪斌(Robin Wong)女士创立的非营利艺术空间。APSMUSEUM关注当代艺术、建筑、设计、时尚等不同领域，意在寻找、搭建和展示彼此相互融合的“空间”可能性。APSMUSEUM试图延展出更多元的艺术与建筑、设计之间的公共文化空间，艺术与时尚之间的文化消费空间，人与社会文化之间的心理空间。APSMUSEUM坐落在上海陆家嘴中心L+Mall商场三楼，由意大利著名建筑设计事务所Stefano Boeri Achitetti担任室内设计。由展览空间APSPACE、艺术设计商店APSTORE和会晤空间APSALON三部分组成。APSMUSEUM致力于塑造一个非常独特的展览空间，能够将艺术和文化带到充满活力的零售空间概念中。
APSMUSEUM is a non-profit art space founded by Art Pioneer Studio and its founder, Ms. Robin Wong. With focuses on contemporary art, architecture, design, fashion, and other creative fields, the APSMUSEUM aims to discover, build, and integrate these areas of interest into a “space” of possibilities. The APSMUSEUM attempts to extend diverse public cultural spaces that bring together art, architecture, and design, a venue of cultural consumption of art and fashion, a psychological space that addresses man and social culture. APSMUSEUM is located in the L+Mall of Lujiazui, Shanghai. The renowned Italian design firm, Stefano Boeri Achitetti, executes its interior design consisting of APSPACE for exhibition, APSTORE for art and design shop, and APSALON for meetings. APSMUSEUM aims to create an unconventional exhibition space that brings art and culture to a vibrant retail concept.
上海陆家嘴中心L+Mall位于上海陆家嘴核心区域，邻近上海中心、环球金融中心等。体量超过140000平方米，地上10层商业，地下1层商业，坐落在“黄金角”地段，L+Mall已成为上海金融中心的新枢纽。L+Mall建筑由全球顶级建筑事务所SOM(Skidmore, Owings & Merrill LLP)设计，屡获国际殊荣的建筑设计事务所Benoy为这座上海核心金融区的大体量中高端购物中心提供了商业空间规划，室内设计及标识设计。
2019年，L+Mall引入巴黎老佛爷百货(Galeries Lafayette)旗舰店，同时拥有世界各大奢华品牌及小众精品等近600个品牌。融合了餐饮，休闲娱乐，跨界体验，艺术空间等多元业态。
L+Mall is located at the heart of Lujiazui, Shanghai, neighboring Shanghai Center, and Shanghai World Financial Center. Its more than 140,000 square meters of construction are divided into ten floors of retail space above ground and one underground. Situated at the "Golden Tip", L+Mall has become the new hub of Shanghai's financial center. Designed by the world's top architecture firm SOM (Skidmore, Owings & Merrill LLP), Benoy's international award-winning architecture firm has provided commercial space planning, interior design, and logo design for this sizeable mid-range and upscale shopping mall in the heart of Shanghai's financial district.
In 2019, L+Mall introduced the flagship store of Galeries Lafayette, which features nearly 600 brands from the world's major luxury brands and boutiques. It integrates diverse experiences such as dining, leisure and entertainment, crossover experiences, and art spaces.
点击图片回顾往期
APSMUSEUM开馆展 | 空间领导者
由斯坦法诺·博埃里操刀设计的APSMUSEUM，将于11月落地上海
关于欣稚锋艺术机构
APS时刻都在探索城市与乡村公共空间的艺术可能性，在艺术项目与环境之间建立连接是APS的重要课题。我们根据项目的不同性质和特点进行整体艺术方案策划，为艺术家提供充分的创作和探索空间，为城市豪华酒店、高端写字楼、商场与住宅的室内外空间、以及艺术节项目等提供全程策展及监制服务。我们寻求艺术与不同领域之间的对话，组织并促进国际性跨学科的合作，尤其在建筑及艺术领域之间组织跨界合作，让建筑师与艺术家共同创造独一无二、量身定做的优秀公共艺术作品。
APS已与来自全球十余个国家和地区的40余位艺术家开展合作关系，并受政府委托策划执行2019上海城市空间艺术季（SUSAS 2019），同时在文华东方酒店集团、光明集团、陆家嘴集团及政府的多个境内外地产项目中担任全程艺术策划及监制顾问。
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