绿茶拿铁 Green Tea Latte

International Herald Tribune

BASEL, Switzerland: First, Western art galleries turned east, moving into China to cash in on its booming contemporary art scene. Now, Chinese galleries are trekking west.

Seven Chinese galleries participated in the main fair of Art Basel and in its satellite events this year, showing some of the most spectacular works in Art Unlimited, the exhibition platform for large-scale projects, video installations and live performances aimed at the institutional art market.

The Boers-Li Gallery in Beijing, a first-timer at the fair, showed Qiu Anxiong's "Staring Into Amnesia" (2007), an authentic 1960s Chinese train car inside which black-and-white war footage was projected onto the windows.

"My work is not about ideology. It is about reviving the memory of China," Qiu said.

There were also works by a three-man collective, Yangjiang Group, presented by Vitamin Creative Space of Guangzhou, China, which were shown in both the Art Unlimited section and Art Statements, a section featuring emerging artists working with rising galleries.

In Art Unlimited, the group presented "Garden III (Pine Trees)," (2008), a faux Chinese garden installation with trees, a path onto a bridge and a paper pond moving to music. At Art Statements, they showed scenes from daily life, including gamblers socializing around a dinner table.

Moving in the opposite direction, two big New York art galleries are about to open satellites in China.

China's economic boom has produced a growing class of wealthy private collectors whose interest in the local art market is reinforcing demand from Western collectors.

"Powerful buying from the West has been reinforced recently by intensive interest from new buyers from Mainland China, some 30 to 50 of them, as well as from Singapore and Taiwan," said Michael Goedhuis, a New York art dealer and a veteran of the Chinese art scene since 1993.

In July, the James Cohan Gallery, from the Chelsea neighborhood of Manhattan, will be the first U.S. gallery to open in Shanghai, where its senior New York director, Arthur Solway, who is fluent in Mandarin, has already relocated.

"We want to address the second wave of collecting that will inevitably happen in China," James Cohan said from New York. "There is a certain maturity process in all collecting markets. Right now it is very focused on the domestic market, but we see mainlanders and Taiwanese focusing more on international collecting."

The PaceWildenstein Gallery, also in New York, will follow in August with a spectacular space in Dashanzi, the Beijing art district that has developed in and around Factory 798, a former munitions plant.

"China, Beijing specifically, is just emerging internationally as an art-making center," said Peter Boris, vice president of PaceWildenstein, who will be chairman of Pace Beijing.

"There are now only a few buyers in mainland China, but there will be more. Our target clientele are Asian collectors and the new wealth created there," Boris said in an interview at Art Basel.

刘 柠

2007 年，随着奥运会的临近，中国经济开始冲刺：据中国国家统计局公开的数据，去年全国GDP增长11.4%，CPI（价格指数）增长4.8%；在北京、上海等 一级城市，一年内房地产价格至少上涨一倍，涨幅超过过去6年的总和；资本市场更是一片尖叫，5年未遇的牛市令人血脉贲张。

行 情最看好的，既不是房地产，也不是资本市场，而是艺术品市场。这个市场的发力，非自去年始。但从2000年至今，海外对中国艺术品市场价值的整体评估，已 上升百倍以上。曾几何时动辄被警察取缔，长期以来在社会边缘辗转流浪的前卫艺术家，在前卫艺术的“政治正确”性确立之后，摇身一变，成为时尚的新宠，随便 翻开一本刊物，艺术家的名字与娱乐明星、著名电影导演和开发首都CBD商圈的大地产商等“成功人士”一起，装点着时尚杂志的封面。在北京的798和上海可 以俯瞰“新天地”的顶级商业画廊中，每个晚上都上演鸡尾酒派对，脱下工装服的艺术家西装革履；继法国尤伦斯（UCCA，Ullens Center For Contemporary Art）抢滩798之后，纽约的古根海姆艺术博物馆（Solomon R. Guggenheim Museum）和巴黎的蓬皮杜中心（Pompidou Center）正考虑在北京建立分部。

“十 年修得同船度，百年修得共枕眠。”艺术与资本如此“和谐”的结局到底是不是艺术家所期待的？答案是肯定的，这是自从前卫艺术运动在本土出现（指当代，远的 不算）至今，3代艺术家中前两代修来的善果。正如在798修葺一新的“尤伦斯当代艺术中心”刚刚落幕的“85新潮回顾展”主展厅的墙上所写的主题词所说 的：“我认为中国艺术家除了没有钱，没有大工作室，什么都有，而且什么都是最好的。”纵然经历过饥饿、贫困，治安联防和警察的追剿，国家体制与资本的放逐 及艺术家的自我放逐，我们念兹在兹的前卫艺术家们矢志不渝，不懈打拼，终于以自身的努力和偏执，创造了“前卫中国”（Avant China）的艺术品牌，迎来了全球化时代“创意中国”（Creative China）的艺术新浪潮，从而向世界证明，中国艺术家“什么都是最好的”。因为“什么都是最好的”，“大工作室”自不在话下，大House、“大奔”、“大蜜”也应运而来，成为今天牛逼艺术家“成功”的标识。

继 去年3月，张晓刚的油画《血缘系列：三位同志》在纽约苏富比拍卖会上，拍出211万美元的高价之后，中国前卫艺术品的价格一路飙升：11月，在北京保利秋 季拍卖会上，刘小东的油画《三峡新移民》以2200万元的价格被一位本土企业家收藏；同月的香港嘉士德（CHRISTIE’S）艺术品拍卖会上， 旅美中国艺术家蔡国强的《APEC景观焰火表演14幅草图》以7424万港元的天价，创中国当代艺术品拍卖的世界纪录。进而，在位于四川成都郊外的著名风 景胜地青城山麓，由地方政府主导并划拨土地，由开发商投资，日本一流设计师设计，专为张晓刚、王广义、方力钧、岳敏君等8位国内顶尖艺术家兴建，最终产权 归艺术家个人所有的私人美术馆群（青城山"中国当代美术馆群，由8座私人美术馆和1座中心美术馆构成，共占地110亩）建设项目启动，将在今年内竣工并投 入使用。如此大手笔的艺术开发，不仅国内是破天荒，世界上都鲜有先例。一个不言而喻的事实是，资本，不仅作为酵母，使艺术品市场发生“化学反应”，而且早 已成为决定性的主导力量：不仅决定艺术品的价格，而且决定艺术家的归属，甚至前卫艺术的发展方向。乃至美国《纽约时报》发表评论指出：中国前卫艺术是一场 “新革命”，其本质在于“艺术向资本主义致意”。

其实，岂止是“向资本主义致意”，短短几年时 间，中国本土的艺术商业机制迅速成熟，其商业化程度甚至已然超过被称为“资本主义”的美、欧、日等国，堪称“优等生”。4年前，北京的艺术区还只有798 一处，现在有不下十处（草场地、索家庄、环铁、宋庄等），并蔓延至全国7个城市；5年前，商业画廊不足30家，现在有数百家（仅798内就有206家）； 5年前，国内拍卖当代艺术品的拍卖行不超过5家，现在超过50家。今天，哪个资深艺术家不是“前店后厂”式经营，哪个展览会不是展销会？批评家做策展人， 策展人当经纪人，甚至索性开画廊——批评家、策展人、经纪人一体化，中国之大，几乎已没有免费撰写艺术评论的批评家和免费发表评论文章的艺术类刊物。在中 国市场的强烈诱惑下，苏富比和嘉士德这两个艺术拍卖的百年老店，甚至打破成规，越过画廊等中间环节，向艺术家直接索画；至于相反的情形——艺术家送货上门 （送自己的作品给拍卖行），早已不是新闻。某种普遍的价格焦虑，竟然让践行百年、代代相传的游戏规则遁于无形，令人哭笑不得。

这个博客教给在美国的摄影师一些关于市场、成名的信息和机会，看起来不错。链接

其中有一个6月13日的免费讲座。 

Source: The Art Newspaper

French curator Jérôme Sans is expected to be announced as the new artistic director of the Ullens Center of Contemporary Art (UCCA) in Beijing at a press conference in Paris on Tuesday. Speaking to The Art Newspaper last month, Guy Ullens, the Belgian foodstuffs baron who has entirely funded UCCA, said that Jérôme Sans had been selected as the new director and that an announcement would be made as soon as the appropriate Chinese authorities had approved the appointment.

Lange's photography reveals a particular sensitivity to the body's gestures and postures. Sally Stein has suggested that the photographer 'viewed the trials of the Great Depression as something registered and grappled with first and foremost in the body'. It is tempting to see this sensitivity to the body as linked to the legacy of her illness--a bout of polio in her childhood had left her with a pronounced limp. In the early 1960s she described the impact of her handicap:' it formed me, guided me, instructed me, helped me and humiliated me.' In later life, Lange was debilitated by serious and extended bouts of ulcers and oesophagitis, her illness interrupting and preventing many of her planned projects.

Life (Roy) Stryker, Lange believed that photography was a tool of political action. It could and did effect change. As soon as she had printed the negatives, she went to tell the City Editor of the San Francisco News of the migrants' plight. He notified United Press and on 10 March the News ran a report that the federal government was rushing in 20,000 pounds of food to feed the hungry migrants at the camp. Alongside the headline ran two of Lange's pictures, but not the now famous photograph. 

In her account of picturing the migrant mother, Lange refers to taking five photographs, 'working closer and closer from the same director'. In fact, she took six pictures, submitting five to Stryker and withholding one, probably for aesthetic reasons. James C. Curtis suggests that it was a trial shot, made soon after she got her equipment out of her car, a means of easing her subjects into posing for their portrait session. Considering these images in terms of a series culminating in the well-known portrtait of the migrant mother, one gets the sense both of a careful arrangement of the mother and her children and the progressive editing out of distracting and seemingly irrelevant details. The particularities of context are erased to achieve a more abstract and thereby universal representation of poverty.

Published in Dec 2005

偶然拾起一年半前北影摄影学院院长随手送给我的他们出的一本影集“城市节奏/人的节奏”，记得当时翻了翻没觉得出奇，现在看看竟然看到了多处闪光点，也不知是我的审美提高了还是后退了，当然我向来对城市和人的题材特别敏感是一贯的。该画册作品由中法9名在校（师？）学生创作，其中包括了“鼎鼎大名”的busoni (而且是排在了头阵）。 巴黎第八大学摄影系美学教授Jean-Claude Moineau写的序言，先搬一搬。(翻译：Simon Welsh，王晶，刘芳，唐圆媛，吴沁沁）

。。。节奏不仅拥有组织形成稳定与静止的能力，而且也有形成运动和变迁的权威。它是形成过程中的形态，而非已经完成的形态。但是它确实表现出一种独有的特征，使它更加背逆而非符合一般的变革，因此，很矛盾的是，它虽然受一定的规律引导，但却更多的表现出来杂乱而非有序。所有这些都表明，节奏并不一定要与质疑这一断言不一致，从而才各种媒体的许多艺术实践似乎都着迷与杂乱本身，而不寻求建立任何一种秩序时，通过拒绝所有“形式”的构图，拒绝重点的选取，在“原始的混沌”（或者是古老的“创造性火花”）中寻找秩序和有形。

...Rhythm has the power to organise not only stability and stasis but also movement and flux). Form in the process of forming rather than fully formed and finished form. But it does show a neguentropic character, therefore it is more contrary to than conforming to the general evolution, directed as it is by laws which, in a pardoxical way, tend to dictate disorder rather than order. All this suggests that it would not necessarily be incongruous to question this determination to summon up order and form from "primordial chaos" (or else the old "creative spark") at a time when many artistic practices, in all types of media, seem to be more fascinated by chaos as such, without seeking to impose any sort of order on it, by rejecting all "forms" of composition, a priori or a posteriori.

惠特尼双年展的装置和表演部分今年设置在了公园大道上的Seventh Regiment Armory，是由Art Production Fund承办的（这个非营利的艺术“承包公司”很有些讲头，待我研究研究再表）。本来昨晚有burlesque表演，怎奈我们老师认为不是艺术，不让我们看，只有我一个贼忒兮兮地一个劲儿的用眼角溜儿，可惜了她雪白的胸脯和大腿。结果老师让我们写展览评论，这下我傻眼了，我好像是唯一一个没基础的学生吧。。。评论这玩意儿现在我也不敢乱发，一来水平太凹，二来号称现在媒体中已经没有负面评论了。我还没出道就大嘴巴把人都得罪了，将来还怎么混呐？闷～

这星期去上画廊管理的课（照taca的话说是nyu“成教部”），第一堂课得出的印象是：钱都让dealer们和secondary market那些炒作的挣走了，名气和self gratification都是艺术家的，就剩下curators啥也没捞到。于是乎，有些闷。。。这年头艺术馆类的机构型场所持续低迷，传统非营利的模式似乎再难长久，真不知道所谓“展览”的形式是否也会日益衰败，渐渐变为“嘉年华”的表演性质，最终沦为fair的附属品。也有些杞人忧天，艺术品从宗教圣品，逐步演变为上流社会奢侈品，再最终变为大众消费品。这不仅仅在其日益与商业成功媾和双赢的趋势中可以窥见端倪，也是人类社会越来越消费个人化、终端化的发展的具体显现。我其实不是艺术至上论者，不过当把它作为一件商业品经营的时候，其思索、策略必然会与艺术判断有冲突，会与合作的艺术家有分歧，curator夹在中间其实颇为尴尬。还是事不关己高高挂起的做个评论家比较容易，不过那不是我的性格。

也看了两篇京不特翻译的Kierkegaard，觉得他学丹麦语翻译哲学挺令人钦佩的，只是他的中文功底实在不咋地，翻译出来的东西如鲠在那个啥，看着极不舒服，可见翻译实在是难上加难的一件大功夫。

见到了taca小朋友，以及他的朋友大宝小朋友。还是那么积极向上，我很欣慰。虽然大宝对周杰伦很不耻，可我从侧面看着他，怎么觉得他好似个文艺版的“周杰伦？”

人在一个地界儿上混油了的特征就是觉得这地界儿怎么越来越小了，人和人怎么都搭着点儿关系？自从在故乡味创下了七人偶遇的记录（那也是青摄会的颠峰之时代吧）、我小学同学成了老八的小学同学的密友后，我又有了前一天刚一起吃过晚饭的朋友第二天正撞破她和新欢的brunch约会（而且坐前后桌），周六又在大都会撞见了刘小东和他媳妇，以及采访曹斐的记者是朋友的堂姐的朋友等离奇经历。周日遇到了一群哥大毕业的记者和建筑师，有预感不定这其中又有多少瓜葛。。。那天我在大都会里兴致勃勃地冲向它新辟的当代摄影厅，迎面一人也正兴致勃勃地奔向某展厅，两人一瞪视，我后脑勺开始盘算这个“赴美旅游学习的优秀企业家”是谁啊？当然在我心中豁然开朗的时候他还在一片惘然，随后慌慌地拽着媳妇看展去了。后来我向老八汇报的时候，她说你也不要个签名啥的？我嘿嘿一声。这辈子好像除了初中要过某北京国安队球员的签名外，再没冲动想要过谁的签名，也许梁朝伟会是个例外，呵呵。 当代摄影厅太拼凑了，没啥主题。Gustave Courbet的展大多数作品对我来说有些沉闷，当然"the origin of the world"还是震撼了我一下的，想想他画她的年代，令我有些敬佩。Jasper Johns的Gray展览，很好，很强悍。

该地址的房地产广告会是大致如此：约800平方尺，底层，无窗，无暖气，洗手池下无下水道（需用水桶舀），不间断的交通噪音，一层污渍随处可见。这就是位于切尔西一隅的蜂蜜空间画廊。它从越来越高档的切尔西区的最后一撞未使用（未发展且未拆除）的旧厂房滋生出来。画廊无需付房租。门外没有标识。在11大道21街和22街之间的门脸看着有些像是墙上的一处断裂。画廊会大致遵守切尔西作息时间，周二至周六开门。不过，大多数时候不会有人接待。

早就听说该展览，热闹着热闹着也就忘了这个碴儿，上周末在Oslo和咖啡时（绝对纽约最好的几家品咖啡的地方，在Williamsburg），不经意翻到纽约时报杂志对他进行的专访，一口气把长达数页的文章读完了（一般没耐心看多于一页的杂志文章），觉得很有意思，特别是讲他既批评中国的文化管制和自由限制，又非常的爱国和推崇中华文化（因而他成为奥运艺术顾问）的那一段。觉得他的这种看似矛盾的双重感受实际广泛存在于大多数中国海外艺术家及旅居者。只是把这又联系到道教的凡事必有其双面性（duality,专业词儿是啥？）实在有点儿牵强。想到小那这些日子读老庄入了魔障，开始宣扬科学是另一模式的宗教，被我讥讽他从“民族虚无主义”激进到“国粹主义”。。。扯远了。我就不喜欢有人试图用一个道理解释所有事，这一点倒是很富有宗教精神。

2008.1.3-2.9 @ Fraenkel Gallery, San Francisco

仅仅从网上看到几张远远的照片，但直觉地觉得这个摄影师的作品有意思，最打动我的既不是选材也不是技巧，而是她的“观念”，虽然这个词现在听来已经成了“俗套”。把被摄影者自己希望被视定的身份角色体现到镜头中，但这又不是流于表面的角色扮演或幻想(fantasy), 而是富于隐喻和潜意识的自我认同。Identity, identity, identity! 我以为在现今西方的艺术、政治圈里，身份认同是最时尚、最敏感的主题了。中国艺术里的相似题材就少很多，也不够有力，归根到底是社会结构不同，价值观不同。

觉得它的press release写的挺不错，在这儿转载一下。

New York Times photo

每年夏天纽约的P.S.1 (stands for Public School no. 1, 原为公立中学校址）当代艺术馆都会委任由“青年建筑师”项目选拔出来的优胜者将其室外场地设计布置成一件或若干件临场建筑/雕塑作品，作为其夏季周六音乐派对的场所。其传统概念是“城市海滩”(urban beach)，目的是清新休闲，04年的竹林和喷水降温是这个理念的经典。08年主领设计的将会是夫妻档Dan Wood和Amale Andraos, 他们将把夏季的P.S.1变成一座城市农庄。

At first, my reaction was, "Ewww, what a disgusting story!" But there is certainly more to it. I used to consider adoption a noble, selfless action and I still do mostly. But I've always been a bit wary towards international, cross-racial/cultural adoption. Not necessarily more child abuse incidents, but definitely more confusion. And it is not close-minded to scrutinize the motive for international adoption. At least one wonderful American adoptive parent confessed to me that it is "simpler and easier" to adopt "healthier" children from China (than in the US).

Vanessa Beecroft, in the controversial photo "Black Madonna With Twins" showing her breast-feeding the Sudanese twins. (By Matthu Placek)