Status of Contemporary Art Museums – Interview with Wang Huangsheng

《藏画导刊》“开坛”栏目:

时    间:2011年8月17日
地    点:中央美术学院美术馆
人    物:王璜生 武漠
文字整合:马龙


编者按:

当代中国的美术馆,无论国有、民营,都正在以前所未有的加速度前进着。

一方面,在全球化与文化个性扩张趋势的合力作用下,美术馆的发展与艺术创作呈现越来越丰富的形态,同时也面临着越来越复杂的状况。

另一方面,大众对美术馆所扮演的教育、休闲、娱乐甚至精神救赎的角色日益倚重,对展览品质的要求日益提升。与此同时,美术馆与创意产业、地区经济、文化观光的关系日益密切。

本期开坛,带您走近中央美术学院美术馆馆长王璜生,听他谈谈纷繁的当代美术馆现状及其发展趋势。

公共教育的问题是一个菜盘子里配套的东西,在我们这里好像是可有可无,但在他们那是一个不可分割的整体,他们始终会放在一起来考虑。资金怎么找?资金寻找的过程实际上也是对这个展览主题不断宣传,不断提炼的过程。他将这个主题自成一体,能够说服人家来给钱,他就必须去锻炼他的主题,锻炼他的做法,包括不同的组织方式。

王璜生(以下简称“王” ):犹太博物馆去了吗?

武漠(以下简称“武” ):去了,我特别喜欢那个博物馆。

:我特别喜欢它后面的花园。

:叫流亡者花园。

:柏林还去了哪几个馆?

:去了博物馆岛和国会,国会里面也有艺术收藏,还去了新博物馆和波德美术馆,藏的都是老大师的作品,还有柏林画廊,当地的一个博物馆。

:还有个世界文化博物馆。

:那个我没去。

:那里有个东方博物馆,里面有很多从新疆拿走的克孜尔壁画。

:还去了帕个蒙,那里有关中东文化的文物也都是他们抢过去的。您也是经常过去吗?

:柏林给我印象特别好。

:上次跟您联系的时候您就正好在德国。

:那次是在威斯巴登,在法兰克福附近。后来还去了威尼斯和巴塞尔。

:您对德国的美术馆有什么印象?

:我对德国美术馆的印象特别好,那次去我住在法兰克福附近,去看了法兰克福现代美术馆三十年的收藏展,非常精彩。那边的美术馆我觉得比较正常化,跟公众的关系,包括组织展览的方式。他们的展览呈现相对稳定,相对正常,标准就在那里。有时候说好,就是在标准之上了。不像我们莫名其妙有些好展览,也会莫名其妙有些不好的展览,也没有一个学术说法,或者是一个假学术的状态。

:那您觉得造成这种状态的原因在哪里?

:是文化基础的问题,是美术馆、博物馆文化的差异。在西方美术馆是社会的文化基础,家庭和学校的培养基地,他们已经形成了一套机制。学校培养学生,一定会有老师带他们去博物馆,他们从幼儿园到小学、中学、大学都会有这样的教育。另一个就是整个文化机制的问题,各方面的管理,比如要策划一个展览,他们有一整套相对规范的东西,怎么做选题,资金来源怎么样,主题的表述过程中,展览的过程中,他一定是跟进去的。他不是做完一个展览才来谈公共教育的问题。公共教育的问题是一个菜盘子里配套的东西,在我们这里好像是可有可无,但在他们那是一个不可分割的整体,他们始终会放在一起来考虑。资金怎么找?资金寻找的过程实际上也是对这个展览主题不断宣传,不断提炼的过程。他将这个主题自成一体,能够说服人家来给钱,他就必须去锻炼他的主题,锻炼他的做法,包括不同的组织方式。这我觉得这是一整套机制的问题了。

当时林镛跟我讲了一句话,他说:现在画家有的是,做好一个美术馆不是谁都能的,去试试。我想那就试试吧。另外一个更重要的原因是我读的是史论,我也知道美术馆的意义在哪里。也接触过很多资料,也隐隐约约知道怎么做。

:您最初是怎么进入美术馆工作的?

:我硕士是读美术理论的,毕业后自己找工作就到了岭南美术出版社,在出版社编杂志,有时也写写文章,对展览,对一些美术理论和现象也比较重视。我那时主要编d 《画廊》杂志也是一个比较地方性的杂志。《画廊》的周期很长,那时候一年才出四期,我在出版社两年多就做了三到四期杂志。当时我组织过一些北京圆明园艺术家的采访,还有北京西三环当代艺术文献展。当时是在北京参与活动,后来又拉到广东去做。这些主要从1991年到1992年。1993年我就被调到了广东画院,在画院是专职画家和专职理论家,非常悠闲,也没想到会去美术馆。当时听说美术馆在建,感觉好像就跟自己没关系。广东美协当时在找美术馆的馆长,美协主席当时就住在画院里面的,那时他为了找美术馆的专业副馆长还到我的画室去谈,我给他推荐了不错的人选,但是他们都拒绝了。后来听说已经找了人,而且已经到位了。但是人到位了以后,觉得不好干,又跑了。从某种方面讲,可以说他们是在找不到人的情况下,也没想到跟我谈我会去。谁都知道画院非常悠闲,各方面的利益都能得到。当时林镛跟我讲了一句话,他说:现在画家有的是,做好一个美术馆不是谁都能的,去试试。我想那就试试吧。另外一个更重要的原因是我读的是史论,我也知道美术馆的意义在哪里。也接触过很多资料,也隐隐约约知道怎么做。

:那个时候还没有艺术机构和艺术管理这些概念。

:应该是没有。当时的状态是美术馆像文化馆一样,既没钱,又要做很大量的群众工作,要像一个展览馆,又要像一个文化馆。

:现在在国内都还有很多地方存在这种现象。

:对,都还是这样。

:那个时候也可以说是中国美术馆的一个起点了。

:应该是吧,我想。很多人都说1997年是中国美术馆相对有些变化的年份。因为那一年在广东有三个美术馆都成立了。这三个美术馆后来都成为很不错的馆。最早是何香凝美术馆,然后是关山月美术馆,最后是广东美术馆。对关山月美术馆深圳政府还是比较支持的,广东美术馆广东省政府也是支持的。开馆的时候经费就能给到三百万了,这其中有一百万的收藏费,一百万的运作费,还有一百万是人员的工资等开销,这已经非常不错了。何香凝美术馆当时有企业支持。

:您在美术馆已经工作有将近二十年了。

:十六七年了吧。

:在您这十多年的美术馆工作生涯里,您觉得美术馆在中国的角色有什么样的演变?

:我觉得变化是很大的,而且也在不断地规范并且在发挥作用。这个规范就是开始比较有意识参与当下的一些跟美术史相关的推动工作,在收藏方面也逐渐有公众意识,对美术史的研究也有一些人在参与。当然美术馆自身去参与工作的也不是特别多,但至少有在做吧。另一个发生比较大变化的是对公共教育的参与。前几天我们跟中国美术馆的公共教育部共同去做一个节目的时候还说,广东美术馆应该是在1997年之后美术馆的公共教育部才开展工作,而且中国美术馆的公共教育部是在2004年才成立。广东美术馆的公共教育部在美术馆一开始的时候就成立了,而且开始有美术馆的导览,当时已经意识到这一点,也开始在做了。这几方面发展还是很大的,而且有一个很重要的是无论是艺术家也好,还是对公众也好这都是一种新的认识和新的要求,而且这种要求我觉得是很重要的。大家从专业的角度和公众的角度对美术馆有了这种认识之后,对美术馆的发展起到了很大的作用。还有一个原因很重要,就是民营美术馆的发展和竞争,使国内的官方美术馆有了某种危机感。

我最近看到一个资料说到所谓的“视觉扫盲”,我觉得美术馆免费开放以后,发展的重点应该在于如何帮助我们的公众提高视觉欣赏水平,引导他们进入美术馆之后知道看什么、怎么看。

:说到美术馆跟公众的关系,比如现在的中国美术馆已经采取了免费开放制度,不收门票,大家都可以进去参观展览,您觉得这种方式会给美术馆的发展带来什么样的影响?

:从根本的出发点我觉得这种做法是非常好的,中国的公众确实离美术馆太远了。现在我们的美术馆能以一种开放的姿态将公众迎进来,这个出发点是非常好的,也是一个根本性的。还有,很多人也争议说现在也出现很多问题,比如说太嘈杂,公众素质低等等。这些问题首先还是一个过程的问题,我觉得中国的公众就因为素质低,才应该让他们尽快地走进美术馆去。

:这个是不是也跟他们之前没有在美术馆这样的空间里参加过活动有关系?

:有关系,但是主要还在于我们公民的基本素质和我们美术馆整个基本管理方式。我今天上午在国博,人山人海,看了很兴奋。心想如果作一个展览有这么多公众来看当然是很好的。但是回头一想,为什么这些公众这么吵?小孩跑啊、闹啊、叫啊。我早上跟人去,后来找不到人了,我也开始大声地喊叫起来。喊完以后,我才意识到我也被整个气氛给刺激起来了。这是一个互相影响,如果大家都非常安静在看东西,你就不敢自己在那儿乱动乱喊。但是如果在吵杂的场合底下,大家都无所谓了,你也可能变成这样了。公众素质低的问题也不是因为开放人多了才会这样,美术馆里吐痰什么的都有的,我们就要说怎么去教育,怎么去管理。但是我觉得更重要的一点就是我们拿什么东西给公众看?你说免费开放,商场也是免费开放的。但美术馆就是美术馆,你免费开放了以后,大家进来看什么?如果是来逛商场,那就一点意义都没有了。所以你拿出什么给公众去看,怎么引导公众去看,如何用规范的管理去慢慢培养公众的素质,进来后该看什么,能够看到什么?这些都是很重要的。一些公众进来以后遛一圈,他什么都没看,觉得没意思,然后就走了。上海美术馆的馆长跟我讲他们第一天免费开放来了一万两千多人,都紧张死了,要是天天这样怎么办?但是三天之后就不会有这种现象,一万两千人大概只剩下三分之一进来。我觉得能将公众引到美术馆来,在于美术馆能够提供什么东西给他,能够提供什么方式留住他们,让他们看到什么?就像马克思说的,懂音乐的,是因为有一个懂音乐的耳朵。其实美术也是这样。

:其实这无形当中也提高了对美术馆策展能力的要求。

:我最近看到一个资料说到所谓的“视觉扫盲”,我觉得美术馆免费开放以后,发展的重点应该在于如何帮助我们的公众提高视觉欣赏水平,引导他们进入美术馆之后知道看什么、怎么看。因此你整个包括布置、细节、文字大小、色调、一个椅子、一个环境,这都是在培养公众视觉感受能力的提高。

:免费开放它还会影响到美术馆自身的营销,它可能会失去美术馆门票收入这一块。但是我们学校美术馆还没有免票开放。

:我们以前都在研究美术馆免费开放之后应该该用什么方式来补足门票的损失,其实就是营销问题。免费开放之后引来的观众多了。

:您来北京之前,已经在广东美术馆工作了十几年,广东美术馆也从一个地方性美术馆成长为具有世界影响的当代美术馆。在这种情况下,您为什么还会选择到北京,到中央美术学院的美术馆来工作呢?

:的确,这是一个很多人都会想到的问题。在他们看来,广东美术馆已经初具规模,在社会上也有一定的影响,在那边做事可以更加自由,也更有自主性,为什么还要选择去北京呢?我想,首先,我很想去学院工作,因为我一直都有一种学院情结,对于一名学者而言,学院无疑是最佳的去处。因为学院不仅有很好的学术氛围,有丰富的图书收藏,有师生之间不同思想的交流碰撞,还有相对清净的环境和空间,以及自己能够掌控的时间等。虽然在学院之外,能有更多机会参加社会性的活动,能干一些轰轰烈烈的事情,但我个人的性格应该说更适合呆在学院,因为那是我喜欢的地方和氛围,或者说是我想象中的一块净土。这应该是我选择去中央美院工作的重要原因之一。另外,我在美术馆这个行业做了很多年,也积累了一些工作经验,如果转行去做别的,当然是非常可惜,也是不应该的。我个人认为,中央美术学院的美术馆,实际上是一个非常好的学术研究和展示的平台,它背靠国内美术院校的最高学府,加上北京的历史人文环境,以及它所具有的国际视野,我想如果能够利用自己的一些经验和对学术的认知,在这样的空间里还是能够做些事情的。

:面对央美美术馆新的工作环境,您来了之后是怎么调整自己状态的?

:我一直在想,在美术馆这个行业里,重要的是要坚持学术为主的理念。在广东美术馆工作期间,我们一直坚持对美术史的研究和对当代艺术的介入,以研究的眼光来进行美术馆的各项工作,无论是展览、收藏,还是细化到说明牌的文字处理等,我们都强调它的学术规范,强调用专业规范来进行操作。中央美术学院美术馆所处的位置不同,应该说在学术方面可能会有更大的发挥空间和操作上的可能性。

:您以前在广东美术馆的经验是否会对现在美院的美术馆有些帮助?您对央美美术馆的展览理念、定位有什么想法?

:其实我觉得在广东美术馆的经验,最主要的是对一个美术馆的规范化的管理和操作。因为做一个比较大型的美术馆,它需要一个规范化的功能分布,包括规范的操作方式,非常有序的,比如说一个灯光怎么处理等等,这些细节性的东西。我想这是管理美术馆的一种方法,应该是在哪个美术馆都是一样的。到了央美美术馆,这套方式也是完全用得上,而且是必须用的。在这个阶段我也在不断地调整管理上的一些问题。至于说整个办馆的学术方向等等,其实我在广东美术馆也是很重视传统或者是现代美术研究,也参与当代艺术的一种工作,这两方面,我觉得应该是在央美美术馆这边,应该是同样的。就是说央美美术馆现在有一个很好的基础,它的藏品有一万三千多件,不仅是宋、元、明、清,可能更早的,还有当下的一些藏品,尤其是近现代美术学院的众多教师、毕业生留下的一大批的优秀作品,所以它的藏品也是非常有积累,是有有学术分量的。在这方面,我们作为一个美术馆来讲,也应该是花很多精力去做这方面的整理、研究等等。对当代艺术方面,以前央美美术馆在这方面的收藏还是没有真正地开展一些工作,我们会根据我们的实际情况来设定一些收藏的方向或者是成立一个收藏委员会等等,我们来研究在新的一种历史状况底下,我们央美美术馆应该怎样发展我们的收藏和未来的方向。

区别很大的一点,一个就是它的学术资源,像央美美术馆的学术资源,可能是背靠央美这样的大树,包括它的招牌,它的学术资源,包括它的学生资源、人才资源、藏品资源等等,包括教学,其实很多东西,包括教学、人才资源结合起来,可以作出很多适合于央美美术馆的一个形象的事。

:央美美术馆跟其它的广东美术馆、上海美术馆的区别是什么?关于公共教育对象的主体是哪些?

:区别很大的一点,一个就是它的学术资源,像央美美术馆的学术资源,可能是背靠央美这样的大树,包括它的招牌,它的学术资源,包括它的学生资源、人才资源、藏品资源等等,包括教学,其实很多东西,包括教学、人才资源结合起来,可以作出很多适合于央美美术馆的一个形象的事。那么在服务对象方面,或者是公共教育方面,央美美术馆更多地是面对学生或者是文化界的这些人,当然对于市区、市区服务的问题,我们也会开放,可能会比较快地考虑。既然在处理好服务主体的问题上,包括社区的公众或者是开放的学术界、文化界,还是以学生为主体,这些问题是下一步认真去做一些考虑的问题。当然我想应该是更为开放一点的。

:你作为资深美术馆的馆长,如何看待中国十几亿的人口大国跟我们的公共美术馆、公共教育的系统完全脱节的关系?

:这个问题是挺严重的一个脱节,这个脱节有一个很好的办法,就是作为美术馆的从业人员,相关的工作安排必须是将重点放在跟公众的交流方面。作为全社会来讲,也应该用各种方式去支持这种共同和提高全民对美术馆、博物馆的意识。但是对全社会,对公众有一个很重要的方面就是我们这些领导,大领导、小领导都是公众,因此首先要提高他们的一个对文化,对博物馆的意识。

:到了央美后,您计划如何来提升央美美术馆的学术形象,延续央美的学术传统?

:老实讲,我一直都很向往中央美术学院,那里不仅是众多人文学者汇集之所,也是才华横溢的老中青三代艺术家聚集之地。他们共同形成了央美独特的思想资源和艺术资源。如果能够用好这些资源,背靠他们开展工作,应该是很惬意的事情。我自己曾经考察过国外的一些大学美术馆和博物馆,他们在运作时特别重视专题性的研究工作,比如,我曾经在法国看到的由策划过《大地魔术师》展的策展人马尔丹做的一个专题展,这是一个有关“双重视觉”的研究性展览。研究人的视觉表现和绘画中的表现,以及由此产生的视觉二重性关系的研究专题,包括文献资料的收集,古代作品的呈现和当代艺术家作品的参入等,是一个既跨越时间和空间,同时又能打通学科之间联系的展览。以我自身的学术背景来讲,我很希望能做这样一类的专题性展览,但是,以我个人的能力,有些可能是做不起来的,我很有兴趣和国内的学者,包括央美、北大、清华等大专院校及社科院的从事跨学科研究的学者们合作,共同来做这样的专题性研究活动,包括研讨、出版、展示等。目前看来,国际上这些重要的展览和策展模式在国内还不多见,做到精致程度和深度的更是少之又少。国内有一些策展人做的专题性展览,更多的是在关注一些局部的问题,能够超越艺术学的展览几乎没有。

在我看来,策展人像厨师一样,要善于发现好的艺术及艺术家资源,然后用你的智慧和敏感、你的学术积累、还有你的技巧做出有深度且不乏创造性的展览。我们必须要超越我们现有的策展模式,让策展拥有更大更自由的表现空间,也敢于挑战更开阔、有深度的课题。

:您是觉得真正的展览和策划应该在思维和方式上都要有突破,甚至可以通过跨学科的合作来完成。

:是的。在我看来,策展人像厨师一样,要善于发现好的艺术及艺术家资源,然后用你的智慧和敏感、你的学术积累、还有你的技巧做出有深度且不乏创造性的展览。我们必须要超越我们现有的策展模式,让策展拥有更大更自由的表现空间,也敢于挑战更开阔、有深度的课题。

:央美美术馆和广东美术馆一个很大的区别在于它有中央美术学院作为依托和后盾。现在很多艺术院校都建立了美术馆,而美术馆的主要职能是展示和传播,艺术院校美术馆如何协调这二者之间关系呢?您是否有一些针对央美的教师和学生的合作计划或策展项目?

:与在广东美术馆相比,在中央美院美术馆的工作我觉得少了很多原来不必要的麻烦,以美术学院为背景的美术馆工作起来感到相对单纯了很多。

中央美院美术馆有它自身的历史和传统,这也是它的优势所在。比如从最早北平艺专开始的美术事业的发展,重要的艺术观念的产生等。另外一些著名艺术家跟美院的关系等等。这些都是别的美术馆所不具有的资源和优势。中央美院人才济济,对于青年学者和学生,我也有个想法,希望开辟一些独立的空间,选择一些独立的选题,让他们介入到展览和策划中来,鼓励他们做一些实验性的东西。

在我的心目中,央美的美术馆应该是多元共存的,它可以深入地做些专题性跨学科研究,也应该关注并且勇于面对周边的艺术现实。充分发掘这方面的资源并且把他们激活,这也是非常重要的。我一直认为,美术馆通过做一些重要的交流展和一些重要艺术家的作品展,或者说通过这样的展览来提供一种知识的背景,或一种学习的机会,这些固然非常重要;但是从美术馆自身的运作和自身学术建设来讲,更重要的是需要一个属于它自己的展览角度,能够体现自身策展能力的活动。

:我们知道,您把广东美术馆打造成为一个具有影响力的美术馆并不单纯是通过一些重要的展览,这其中还有一些美术馆专业运转的系统和机制问题,能否给我们讲讲这方面的情况。

:表面上看,大家是从我们的几个大展来认识和肯定广东美术馆的。但从更深层次来分析,我觉得广东美术馆的意义,可能在于较早时候它便有意识地建立起了一整套美术馆的学术标准和专业操作规范,当然这种系统和标准也是一个不断完善的过程。还有,我们在策划和运作中始终保持一种主动意识,在每个历史阶段,我们都有一些短期的目标,在某种程度上成为行业的一个标杆。比如, 1997年开馆时,我们出了一套丛书,共6本,今天看来依然不乏较高学术价值。通过出版我们把展览和研究工作有机地联系在一起,对我们来讲,作为官方美术馆,当时能够投钱做展览,特别是投入资金做系列丛书,这在当时是很难想象的。后来有人不解,问我们做书的钱从何来?我想主要是我们具有这样的意识,有了这种意识,其实是可以找到很多解决经济和其他方面问题的有效方法和途径的。在研究和出版成为一体后,很多艺术家就是冲着这一点,愿意为美术馆捐献作品。这样就变成了一种良性互动,而不是被动地靠收取场租,或用场地换取作品的方式来获得我们所期望的藏品。在此之后我们又开始做《美术馆》这本刊物,它的重要意义在于,它是国内第一本完整地研究美术馆和跨美术馆研究的专业刊物。另外在文献资料收集整理方面,我们也走在了国内同行的前面。由此带动的是各种展览资料的档案建立,包括美术馆年鉴和馆藏作品的图录等。如藏品图录,将所有的藏品和资料公之于众,这是国内许多美术馆所未能做到的事情。因为一旦我们要面向公众,就必须要面对可能会来自公众的质疑,比如藏品的品质问题,是否存在人情收藏的问题,还有藏品的内部管理、学术工作方式问题等。

从国际方面看,整个美术馆领域的话语方式和话语权都还是以西方的标准为依据的,虽然东方文化也曾对西方思想文化等方面产生过重要的影响,但就现在来说,这个方式还是以西方的主的。

:美术馆的发展需要大量资金的支持,而开发美术馆自身的经营潜力一般也很难达到盈利的状态,这也是国内很多美术馆面临的一个问题。您认为美术馆应如何在保证学术的前提下,更好地与商业结合以不断发展自己?

:现在有很多美术馆也在考虑商业运作的模式,比如利用场地出租或者与著名品牌合作等形式。但无论采用什么样的方式,美术馆作为它的公共传播机构和学术研究机构的职能不应该受到动摇。所以我不会因为一个商业活动而对原有的学术展览或活动进行调整,比如改变原定的展览时间或是提前结束等等。我会将这样的活动在每年的展览计划中,安排在相应的时间段进行,而不会让他们影响到美术馆自身常规的展览计划。

:您怎样看待西方艺术价值体系对中国当代艺术发展的影响?这种影响是否也已影响到了中国的传统艺术的发展。在美术学院这样的环境中,是否能更清楚地感觉到这样的影响?

:从国际方面看,整个美术馆领域的话语方式和话语权都还是以西方的标准为依据的,虽然东方文化也曾对西方思想文化等方面产生过重要的影响,但就现在来说,这个方式还是以西方的主的。

在学校的这个环境里,学生和老师也都是处在当代环境下的人,因此这种展览的方式,整体策划、宣传和呈现的方式都还会是以当代的方式为主。一方面是对多元化个性的强调,另一方面,是对社会包括各种社会问题的介入。这些可以说是我这些年来从事现、当代艺术活动的基本理念,即便随着时间的推移,这些理念也没有发生什么变化?因为,艺术,尤其是当代艺术,不能笼统地讲它就是好的,当代艺术有好有坏,我个人认为,好的当代艺术一定是具有个人特色的,有自己的思想和智慧,以及个人的文化立场的。另外它一定是能够切入社会史、文化史或美术史并在期间构成自身意义的。

:中国的当代艺术的发展以及对当代艺术的收藏情况是什么样的,包括您原来工作过的广东美术馆在内?  

:中国当代艺术是中国现实和国际视野的共同产物,因为它的复杂和富于争议,它才构成了中国当代文化中值得特别关注、描述、研究的重要对象,甚至,它体现了当代文化的种种代表性特点——复杂性、多元性、争议性、颠覆性、民主性、先锋性等等。

中国当代艺术的发展和影响非常独特和迅猛,它的独特性来自于中国当代艺术长期以来始终处于中国民间和国际社会之间的对接和交流,“民间”对于中国社会来讲,是“边缘”的代名词,正因为它突出的民间性和边缘性,构成了它的自由、个性、反叛和先锋的色彩。而“民间”的这种边缘性,在中国的主流和大众的社会及文化场中,基本上是被有意无意地忽略、回避、误解,因而也缺少普遍影响的。而另一方面,国际社会却以种种不同的出发点和眼光来从这“民间”和“边缘”中发现和描述“中国” ,并有计划地收藏了一个中国的“当代艺术” ,推动国际上的中国当代艺术市场,形成了一个国际现象中的中国当代艺术“热” 。

中国本土的当代艺术收藏情况相比之下太令人失望。虽然,中国本土的私人藏家及个别私人机构很早就有收藏的意识和行动,也及时地收藏了一些关键性有影响的作品,但是,这些本土的收藏家及机构,由于长远的文化计划和长远的经济支持力,以及其他可见不可见的种种原因,其收藏规模、收藏方向、持续性和计划性、收藏策略等等,多数存在一些问题,尤其是其中一些重要的收藏可能已经被转到国外藏家手中。而中国的官方美术馆当代艺术的收藏更是困难重重,起步极为滞后,资金几乎为零,意识也极为淡薄,更不用谈规模和计划了。我们央美美术馆已经认识到,在中国当代艺术迅速发展的同时,作为以“现当代美术”为立馆宗旨的美术馆,整理、研究和收藏具有真正当代意义和当代史学价值的艺术作品,显得尤为迫切和重要。 

:那么现在的央美美术馆对当代艺术的收藏情况是怎样的?

:美术馆方面还是比较单薄,每年有关的收藏机会也比较有限。关键的一点,还是说这个工作应该建立一种规范来进行这方面的收藏工作,目前还没有真正地做。我的计划是我们的收藏要有计划地展开,分期、分阶段、分专题、按目标和定位有序工作。这除了美术馆自身的条件外,还跟整个大的环境有很重要的关系,包括中央美院方面的意见和态度,以及他们所能够投入的资金支持等等。

我个人认为,一个美术馆的馆长,实际上更像是一个编辑,编辑的特点首先在于发现可做的东西,然后能找到相应的专家,能够与专家对话,在过程中把自己的想法融入,大家一起把事情做到一个新的高度,当然不是说专家说什么就是什么。通过对话达成共识,最终把事情做好,这也需要相当好的交流和沟通能力才能完成。

:在当今的社会条件下,美术馆的发展还有那些方面的问题?众所周知,中国是一个办事特别强调“关系”的社会,面对各种复杂的“关系” ,以及由“关系”带来的种种压力,您是怎样处理和把握这种平衡的?

:一个是人员问题,另一个就是体制问题。人员问题需要长时间的培养和锻炼,一个具有良好的美术馆工作经验的人是需要通过大量的实践逐渐成长起来的。体制的问题相对就更复杂一些吧,它会涉及到更多的方面。其实,作为一个馆长,一般情况下,只能是把握大的方向去做好若干件大事——能够树立美术馆形象的大事,包括几个大展,几本重要的书,还有美术馆的刊物等。主体方向、主体形象一定要坚持。另外就是专业的水准和学术规范,包括展览的选择、布置,甚至是文字说明等都要严格按照标准和规范去做。在这过程中,有时会因为坚持而得罪一些人,包括自己身边的一些朋友。对待内内外外的各种“关系”,有时也只能尽力去平衡,但基本是不能没有原则。我个人认为,一个美术馆的馆长,实际上更像是一个编辑,编辑的特点首先在于发现可做的东西,然后能找到相应的专家,能够与专家对话,在过程中把自己的想法融入,大家一起把事情做到一个新的高度,当然不是说专家说什么就是什么。通过对话达成共识,最终把事情做好,这也需要相当好的交流和沟通能力才能完成。在广东和在北京这些年的工作,我自己置身其中,在参与、对话和沟通的过程中,真正学到了不少东西。其实,对待收藏工作也是这样,广东美术馆和央美美术馆的藏品都是在这样的共同探讨和坚持不懈中建立起来的。

:您本来是做中国古代画论研究的学者,后来进入到美术馆工作,您的兴趣更多表现在对当代艺术的研究上,这种兴趣的改变,有什么特别值得一提的机缘吗?

:我过去学的是中国画,后来学习中国古典画论,从个人学术背景来讲,也是比较传统和古典的。但在我的性格中还有另外一种东西,它使我很早就对当下社会现实产生关注的热情和自觉的参与意识。1974年夏,我在北京结交了一位很好的朋友,他叫刘小淀,后来我们一直靠通信来往,交流一些思想和对社会现实的看法。作为一个十七八岁的北京青年,刘小淀对人生和社会有很多很冲动的东西,在和他的交往中,我的情绪也被调动起来。后来他又介绍我认识了“朦胧诗人”像北岛、江河、杨练,“星星画派”的马德升、黄锐等,他们的思想锋芒加深了我对社会的认识和责任感。所以80年代初,我在汕头组织成立了“汕头青年美术协会” ,从1981年到1987年一共举办了6次大型汕头青年美术展,组织读书学习小组,自由讨论会等,同时还编辑出版青年美协的刊物,会刊以罗丹的《思想者》为封面,刊登一些年轻人的文章,可以说是做得挺轰轰烈烈的。记得当时“厦门达达”在厦门做活动时还给我们寄了资料。在做这些事情时,让我看到自己性格中反叛和特立独行的一面。更重要的是,1985-1986年,我有几乎一年的时间都呆在北京,在此期间认识了不少人,也看了很多好的展览,印象最深的是劳申柏的展览。当时正是“85美术思潮”热火朝天的时候,虽然我没有直接参与各种艺术运动,只是一个旁观者,但我还是在《美术思潮》上发表了题为《现代艺术:多样化的个性和模糊化的民族性》文章,表达了我对现代艺术的理解和看法。这篇文章在当时应该算是比较有思想的。

注:王璜生,毕业于南京艺术学院,获博士学位。2009年7月至今担任中央美术学院美术馆馆长,教授,中国美术家协会理事,全国美术馆专业委员会副主任,中国美术馆专家委员会委员,广州美术学院、南京艺术学院、华南师范大学特聘教授,国务院政府特殊津贴专家。2004年获法国政府颁发的“文学与艺术骑士勋章”,2006年获意大利总统颁发的“骑士勋章”。王璜生为中国文化部“威尼斯双年展中国馆”专家委员会委员。曾于2000年至2009年任广东美术馆馆长。

Child Public Education Reservation Form

I agree to the Group Visit Agreement and Statement Please agree to the Group Visit Agreement.
Submit

Adult Public Education Event Reservation Form

I agree to the Group Visit Agreement and Statement Please agree to the Group Visit Agreement.
Sumbit

Group Public Education Event Reservation Form

I agree to the Group Visit Agreement and Statement Please agree to the Group Visit Agreement.
Submit

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

I fully agree to CAFA Art Museum (CAFAM) submitting to CAFA for publication the images, pictures, texts, writings, and event products (such as works created during participation in workshops) related to me from my participation in public events (including museum member events) organized by the CAFA Art Museum Public Education Department. CAFA can publish these materials by electronic, web, or other digital means, and I hereby agree to be included in the China Knowledge Resource Bank, the CAFA Database, the CAFA Art Museum Database, and related data, documentation, and filing institutions and platforms. Regarding their use in CAFA and dissemination on the internet, I agree to make use of these rights according to the stated Rules.

CAFA Art Museum Event Safety Disclaimer

Article I

This event was organized on the principles of fairness, impartiality, and voluntary participation and withdrawal. Participants undertake all risk and liability for themselves. All events have risks, and participants must be aware of the risks related to their chosen event.

Article II

Event participants must abide by the laws and regulations of the People’s Republic of China, as well as moral and ethical norms. All participants must demonstrate good character, respect for others, friendship, and a willingness to help others.

Article III

Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.

Article IV

Event participants undertake all liability for their personal safety during the event, and event participants are encouraged to purchase personal safety insurance. Should an accident occur during an event, persons not involved in the accident and the museum do not undertake any liability for the accident, but both have the obligation to provide assistance. Event participants should actively organize and implement rescue efforts, but do not undertake any legal or economic liability for the accident itself. The museum does not undertake civil or joint liability for the personal safety of event participants.

Article V

During the event, event participants should respect the order of the museum event and ensure the safety of the museum site, the artworks in displays, exhibitions, and collections, and the derived products. If an event causes any degree of loss or damage to the museum site, space, artworks, or derived products due to an individual, persons not involved in the accident and the museum do not undertake any liability for losses. The event participant must negotiate and provide compensation according to the relevant legal statutes and museum rules. The museum may sue for legal and financial liability.

Article VI

Event participants will participate in the event under the guidance of museum staff and event leaders or instructors and must correctly use the painting tools, materials, equipment, and/or facilities provided for the event. If a participant causes injury or harm to him/herself or others while using the painting tools, materials, equipment, and/or facilities, or causes the damage or destruction of the tools, materials, equipment, and/or facilities, the event participant must undertake all related liability and provide compensation for the financial losses. Persons not involved in the accident and the museum do not undertake any liability for personal accidents.

CAFA Art Museum Portraiture Rights Licensing Agreement

According to The Advertising Law of the People’s Republic of China, The General Principles of the Civil Law of the People’s Republic of China, and The Provisional Opinions of the Supreme People’s Court on Some Issues Related to the Full Implementation of the General Principles of the Civil Law of the People’s Republic of China, and upon friendly negotiation, Party A and Party B have arrived at the following agreement regarding the use of works bearing Party A’s image in order to clarify the rights and obligations of the portrait licenser (Party A) and the user (Party B):

I. General Provisions

(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.

(2) Party B (CAFA Art Museum) is a specialized, international modern art museum. CAFA Art Museum keeps pace with the times, and works to create an open, free, and academic space and atmosphere for positive interaction with groups, corporations, institutions, artists, and visitors. With CAFA’s academic research as a foundation, the museum plans multi-disciplinary exhibitions, conferences, and public education events with participants from around the world, providing a platform for exchange, learning, and exhibition for CAFA’s students and instructors, artists from around the world, and the general public. As a public institution, the primary purposes of CAFA Art Museum’s public education events are academic and beneficial to society.

(3) Party B will photograph all CAFA Public Education Department events for Party A.

II. Content, Forms of Use, and Geographical Scope of Use

(1) Content. The content of images taken by Party B bearing Party A’s likeness include: ① CAFA Art Museum ② CAFA campus ③ All events planned or executed by the CAFAM Public Education Department.

(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.

(3) Geographical Scope of Use

The applicable geographic scope is global.

The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

The fees for images bearing Party A’s likeness will be undertaken by Party B.

After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.

Additional Terms

(1) All matters not discussed in this agreement shall be resolved through friendly negotiation between both parties. Both parties may then sign a supplementary agreement, provided it does not violate any laws or regulations.

(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.

(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.

Event participants implicitly accept and undertake all the obligations stated in this agreement. Those who do not consent will be seen as abandoning the right to participate in this event. Before participating in this event, please speak to your family members to obtain their consent and inform them of this disclaimer. After participants sign/check the required box, participants and their families will be seen as having read and agreed to these terms.

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

I fully agree to CAFA Art Museum (CAFAM) submitting to CAFA for publication the images, pictures, texts, writings, and event products (such as works created during participation in workshops) related to me from my participation in public events (including museum member events) organized by the CAFA Art Museum Public Education Department. CAFA can publish these materials by electronic, web, or other digital means, and I hereby agree to be included in the China Knowledge Resource Bank, the CAFA Database, the CAFA Art Museum Database, and related data, documentation, and filing institutions and platforms. Regarding their use in CAFA and dissemination on the internet, I agree to make use of these rights according to the stated Rules.

CAFA Art Museum Event Safety Disclaimer

Article I

This event was organized on the principles of fairness, impartiality, and voluntary participation and withdrawal. Participants undertake all risk and liability for themselves. All events have risks, and participants must be aware of the risks related to their chosen event.

Article II

Event participants must abide by the laws and regulations of the People’s Republic of China, as well as moral and ethical norms. All participants must demonstrate good character, respect for others, friendship, and a willingness to help others.

Article III

Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.

Article IV

Event participants undertake all liability for their personal safety during the event, and event participants are encouraged to purchase personal safety insurance. Should an accident occur during an event, persons not involved in the accident and the museum do not undertake any liability for the accident, but both have the obligation to provide assistance. Event participants should actively organize and implement rescue efforts, but do not undertake any legal or economic liability for the accident itself. The museum does not undertake civil or joint liability for the personal safety of event participants.

Article V

During the event, event participants should respect the order of the museum event and ensure the safety of the museum site, the artworks in displays, exhibitions, and collections, and the derived products. If an event causes any degree of loss or damage to the museum site, space, artworks, or derived products due to an individual, persons not involved in the accident and the museum do not undertake any liability for losses. The event participant must negotiate and provide compensation according to the relevant legal statutes and museum rules. The museum may sue for legal and financial liability.

Article VI

Event participants will participate in the event under the guidance of museum staff and event leaders or instructors and must correctly use the painting tools, materials, equipment, and/or facilities provided for the event. If a participant causes injury or harm to him/herself or others while using the painting tools, materials, equipment, and/or facilities, or causes the damage or destruction of the tools, materials, equipment, and/or facilities, the event participant must undertake all related liability and provide compensation for the financial losses. Persons not involved in the accident and the museum do not undertake any liability for personal accidents.

CAFA Art Museum Portraiture Rights Licensing Agreement

According to The Advertising Law of the People’s Republic of China, The General Principles of the Civil Law of the People’s Republic of China, and The Provisional Opinions of the Supreme People’s Court on Some Issues Related to the Full Implementation of the General Principles of the Civil Law of the People’s Republic of China, and upon friendly negotiation, Party A and Party B have arrived at the following agreement regarding the use of works bearing Party A’s image in order to clarify the rights and obligations of the portrait licenser (Party A) and the user (Party B):

I. General Provisions

(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.

(2) Party B (CAFA Art Museum) is a specialized, international modern art museum. CAFA Art Museum keeps pace with the times, and works to create an open, free, and academic space and atmosphere for positive interaction with groups, corporations, institutions, artists, and visitors. With CAFA’s academic research as a foundation, the museum plans multi-disciplinary exhibitions, conferences, and public education events with participants from around the world, providing a platform for exchange, learning, and exhibition for CAFA’s students and instructors, artists from around the world, and the general public. As a public institution, the primary purposes of CAFA Art Museum’s public education events are academic and beneficial to society.

(3) Party B will photograph all CAFA Public Education Department events for Party A.

II. Content, Forms of Use, and Geographical Scope of Use

(1) Content. The content of images taken by Party B bearing Party A’s likeness include: ① CAFA Art Museum ② CAFA campus ③ All events planned or executed by the CAFAM Public Education Department.

(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.

(3) Geographical Scope of Use

The applicable geographic scope is global.

The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

The fees for images bearing Party A’s likeness will be undertaken by Party B.

After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.

Additional Terms

(1) All matters not discussed in this agreement shall be resolved through friendly negotiation between both parties. Both parties may then sign a supplementary agreement, provided it does not violate any laws or regulations.

(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.

(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.

Event participants implicitly accept and undertake all the obligations stated in this agreement. Those who do not consent will be seen as abandoning the right to participate in this event. Before participating in this event, please speak to your family members to obtain their consent and inform them of this disclaimer. After participants sign/check the required box, participants and their families will be seen as having read and agreed to these terms.

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

I fully agree to CAFA Art Museum (CAFAM) submitting to CAFA for publication the images, pictures, texts, writings, and event products (such as works created during participation in workshops) related to me from my participation in public events (including museum member events) organized by the CAFA Art Museum Public Education Department. CAFA can publish these materials by electronic, web, or other digital means, and I hereby agree to be included in the China Knowledge Resource Bank, the CAFA Database, the CAFA Art Museum Database, and related data, documentation, and filing institutions and platforms. Regarding their use in CAFA and dissemination on the internet, I agree to make use of these rights according to the stated Rules.

CAFA Art Museum Event Safety Disclaimer

Article I

This event was organized on the principles of fairness, impartiality, and voluntary participation and withdrawal. Participants undertake all risk and liability for themselves. All events have risks, and participants must be aware of the risks related to their chosen event.

Article II

Event participants must abide by the laws and regulations of the People’s Republic of China, as well as moral and ethical norms. All participants must demonstrate good character, respect for others, friendship, and a willingness to help others.

Article III

Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.

Article IV

Event participants undertake all liability for their personal safety during the event, and event participants are encouraged to purchase personal safety insurance. Should an accident occur during an event, persons not involved in the accident and the museum do not undertake any liability for the accident, but both have the obligation to provide assistance. Event participants should actively organize and implement rescue efforts, but do not undertake any legal or economic liability for the accident itself. The museum does not undertake civil or joint liability for the personal safety of event participants.

Article V

During the event, event participants should respect the order of the museum event and ensure the safety of the museum site, the artworks in displays, exhibitions, and collections, and the derived products. If an event causes any degree of loss or damage to the museum site, space, artworks, or derived products due to an individual, persons not involved in the accident and the museum do not undertake any liability for losses. The event participant must negotiate and provide compensation according to the relevant legal statutes and museum rules. The museum may sue for legal and financial liability.

Article VI

Event participants will participate in the event under the guidance of museum staff and event leaders or instructors and must correctly use the painting tools, materials, equipment, and/or facilities provided for the event. If a participant causes injury or harm to him/herself or others while using the painting tools, materials, equipment, and/or facilities, or causes the damage or destruction of the tools, materials, equipment, and/or facilities, the event participant must undertake all related liability and provide compensation for the financial losses. Persons not involved in the accident and the museum do not undertake any liability for personal accidents.

CAFA Art Museum Portraiture Rights Licensing Agreement

According to The Advertising Law of the People’s Republic of China, The General Principles of the Civil Law of the People’s Republic of China, and The Provisional Opinions of the Supreme People’s Court on Some Issues Related to the Full Implementation of the General Principles of the Civil Law of the People’s Republic of China, and upon friendly negotiation, Party A and Party B have arrived at the following agreement regarding the use of works bearing Party A’s image in order to clarify the rights and obligations of the portrait licenser (Party A) and the user (Party B):

I. General Provisions

(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.

(2) Party B (CAFA Art Museum) is a specialized, international modern art museum. CAFA Art Museum keeps pace with the times, and works to create an open, free, and academic space and atmosphere for positive interaction with groups, corporations, institutions, artists, and visitors. With CAFA’s academic research as a foundation, the museum plans multi-disciplinary exhibitions, conferences, and public education events with participants from around the world, providing a platform for exchange, learning, and exhibition for CAFA’s students and instructors, artists from around the world, and the general public. As a public institution, the primary purposes of CAFA Art Museum’s public education events are academic and beneficial to society.

(3) Party B will photograph all CAFA Public Education Department events for Party A.

II. Content, Forms of Use, and Geographical Scope of Use

(1) Content. The content of images taken by Party B bearing Party A’s likeness include: ① CAFA Art Museum ② CAFA campus ③ All events planned or executed by the CAFAM Public Education Department.

(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.

(3) Geographical Scope of Use

The applicable geographic scope is global.

The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

The fees for images bearing Party A’s likeness will be undertaken by Party B.

After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.

Additional Terms

(1) All matters not discussed in this agreement shall be resolved through friendly negotiation between both parties. Both parties may then sign a supplementary agreement, provided it does not violate any laws or regulations.

(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.

(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.

Event participants implicitly accept and undertake all the obligations stated in this agreement. Those who do not consent will be seen as abandoning the right to participate in this event. Before participating in this event, please speak to your family members to obtain their consent and inform them of this disclaimer. After participants sign/check the required box, participants and their families will be seen as having read and agreed to these terms.

I have carefully read and agree to the above provisions.

Event Booking Form

Name:
Gender
Phone:
Valid Certificate: Identity Card
ID Number:
Email:

Reminder:

Hello! Thank you for participating in our public education event and we are looking forward to seeing you! If you cannot attend the event on time, please send a text message to 13261936837 (Liang) to cancel the booking. Please be aware that your eligibility for using the quick booking may be affected If you cancel the booking more than three times. Thank you for your understanding!
Quick loginAccount login
  • Mobile phone number will be your login ID
  •  
Use Artron membership to login