中国商场艺术展览正在成为潮流

2014-07-09 15:16:25来源：可可英语

　　The works on view at K11 are not meant to be for sale. Other art malls, however, tack on the dressings of the museum or gallery experience by adding rentable gallery space or staging sporadic mall-wide exhibitions in collaboration with artists, curators or galleries, sometimes making works available for purchase.

　　K11展示的作品不是用来销售的。不过，其他购物艺术中心在博物馆或画廊体验上添加了可供租赁的展览空间或者在整个购物中心进行的不定期展览，与艺术家、策展人或画廊合作，有时作品可供购买。

　　K11’s first mall opened in 2009 in Hong Kong, the hometown of its founder and chairman, Adrian Cheng. Retail-empire building runs in his family: His grandfather is the jewelry-store mogul Cheng Yu-tung, one of the richest people in Hong Kong. Mr. Cheng, an avid art collector who was educated in the United States, started the foundation in 2008 after moving to China.

　　K11的第一个购物中心2009年在香港开业。香港是它的创始人、主席郑志刚的故乡。他的家族建立了一个零售帝国：他的祖父是珠宝大亨郑裕彤——香港最富有的人之一。郑志刚是个热心的艺术收藏者，在美国接受教育，2008年回中国后开设了这个基金会。

　　“At that time, China was like the Great Gatsby,” he said in Hong Kong, where he organized a show of Zhang Enli paintings under the K11 banner during the Art Basel show there.

　　“那时候，中国就像《了不起的盖茨比》(Great Gatsby)里的情形，”郑志刚在香港说。香港巴塞尔艺术展期间，他以K11的名义组织了张恩利画展。

　　He said his malls provided education, like tours and lectures, about new Chinese artists and art in general. “I have the resources,” Mr. Cheng said, adding, “Chinese audiences, or even Western audiences, are not really sure what’s going on with contemporary emerging Chinese artists.”

　　他说自己的购物中心就像巡演或讲座，提供关于中国新晋艺术家和所有艺术的教育。“我有资源，”郑志刚补充说，“中国观众，甚至包括西方观众，并不真的知道中国当代新晋艺术家们在做什么。”

　　Mr. Cheng’s foundation often supplies its two art malls with work from its two K11 Art Villages, in Wuhan and Guiyang, where Chinese artists can apply for residencies. Just before the Monet exhibition, the gallery space held a show produced by artists at these villages. Within the mall itself, Eric Chan, K11’s director of operations in south China, said the focus was on creating a “nonthreatening setting” for viewing art.

　　郑志刚的基金会通常为自己的两个购物艺术中心提供武汉和贵阳的两个K11艺术村的作品，中国艺术家们可以在这两个艺术村申请住所。在莫奈展览之前，该艺术馆举办了这两个艺术村的艺术家们的作品展。K11的南中国区营运总经理陈健豪在购物中心里说，重点是创造一个“没有威压感的”观赏艺术的“环境”。

　　“A lot of people in China think that art is for very rich people and get intimidated,” Mr. Chan said. Galleries aim to attract 25- to 50-year-old women — “the sophisticated lady,” he said — with children’s art classes and collaborations within stores. The MaxMara store at the mall, for example, exhibited works by three Chinese artists that all used the brand’s signature coat.

　　“在中国，很多人认为只有富豪们才能享受艺术，对艺术感到畏惧，”陈健豪说。艺术馆意在用儿童艺术课堂以及与店铺的合作项目吸引25岁至50岁的女人——他称她们为“成熟的女人”。比如，购物中心里的麦丝玛拉(MaxMara)店铺展示了三位中国艺术家的作品，他们都用了该品牌的标志性大衣。

　　Other malls in Shanghai have begun to capitalize on the publicity that high-profile exhibitions can bring. Last fall Jing’an Kerry Center, a chain throughout the city, held a 25-year retrospective of photography from Elle China; LVMH’s L’Avenue held an exhibition of works by the conceptual artist Xu Zhen last year; and in November the new IAPM Mall threw an exhibition opening for David LaChapelle’s photographs of the new line of Tod’s handbags.

　　上海的其他购物中心也开始利用备受瞩目的展览带来的宣传。去年秋天，静安嘉里中心——该中心在上海有几个连锁店——举办了《Elle》中国版的25年摄影回顾展;去年路威酩轩(LVMH)集团的L’Avenue商场举办了概念艺术家徐震的作品展;去年11月，新的上海环贸IAPM商场为大卫·拉切贝尔(David LaChapelle)的Tod’s新系列手袋摄影展举办了一个开幕式。

　　“Contemporary art in China is categorized within the realm of luxury goods,” said Mathieu Borysevicz, the founder and director of BANK gallery in Shanghai, who has worked in the Chinese art world since the 1990s. “Now the malls themselves have taken the initiative to embrace contemporary art. Of course what starts out as grossly superficial may, hopefully, lead to sincere interest in the future.”

　　“中国当代艺术被归属于奢侈品范畴，”上海BANK画廊的创始人、总监马蒂厄·柏利塞维兹(Mathieu Borysevicz)说。他从20世纪90年代起在中国艺术界工作。“现在购物中心主动欢迎当代艺术。当然，一开始看起来很肤浅的活动将来有可能带来真诚的兴趣。”

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