Jiangsu Provincial Art Museum Wang Fa
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Against the backdrop of the rapid development of digital technology, as an art museum with a profound historical accumulation, the Jiangsu Provincial Art Museum has actively embraced new technologies amid the tide of the times, committed to exploring innovative paths and promoting profound changes in the development model and management methods of art museums.
Exhibition planning and public education are the main windows through which art museums provide public services, cultural services, and popularize social aesthetic education to the society. In recent years, in its exhibition projects and public education projects, the Jiangsu Provincial Art Museum has, through the empowerment of digital technology and new media, practiced a new cultural service model driven by the dual wheels of "technology + art". This model has helped the art museum break through the limitations of physics and time, reconstructed the way of participating in art, and thus more effectively fulfilled its public welfare function of serving the society.
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1.
Innovative Practices Empowered by Digital Technology
Future Laboratory: Technological Aesthetics and New Media Installation Art Exhibition
The empowerment of digital technology is opening up unprecedented possibilities for art museums in areas such as exhibition planning and public education.
In the field of exhibition planning, the application of digital technology has significantly enhanced the interactivity of exhibitions. In October 2023, the Jiangsu Provincial Art Museum curated and launched the exhibition "Future Laboratory: Tech Aesthetics and New Media Installation Art Exhibition". With the help of images and new media installations, this exhibition presented a collection of artistic works with experimental, exploratory and interactive features through audio-visual interaction, delving into the innovative relationships between humans, society, machines and information. As a thematic exhibition to celebrate the 45th anniversary of reform and opening up, its planning did not limit itself to the conventional narrative framework of the main theme, but focused on the intuitive impact and changes that technology has on people's daily lives. The exhibition carefully constructed an immersive and participatory technology experience space by means of cutting-edge technical methods such as multimedia images and digital interactive installations. At the same time, considering the large audience flow and high experience demand during the National Day holiday, the exhibits in the exhibition also abandoned the single-line communication mode and generally adopted multi-dimensional touch and conversational interactive devices. Visitors could trigger changes in the works through somatosensory interaction, voice commands, etc., or shuttle through digital landscapes with the help of virtual reality technology, resonating artistically with mechanical installations, and fully experiencing the joy of "everyone is a creator" in the integration of technology and art. Although the exhibition only lasted for two weeks, it attracted more than 30,000 visitors and won wide acclaim and praise from the society.
Future Laboratory
During the exhibition, a supporting new media art workshop was held simultaneously, with participating artists invited to give personal instruction. It not only showcased the artists' innovative achievements in fields such as artificial intelligence art and data visualization in a concentrated manner but also built a humanistic bridge between technology and art. Through interactive experiences, the audience could not only intuitively feel the unique expressiveness of digital aesthetics but also deeply reflect on the profound impact of technological progress on social ethics and interpersonal relationships. This reflects the diverse aesthetic dimensions that digital art endows the public with in the context of the new era.
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Practical Exploration of Public Education in Art Museums Under Digital Technology
In terms of public education, the core value of digital technology lies in its powerful ability to break through the limitations of time and space.
This ability is first reflected in the widespread application of the "cloud exhibition" model, which enables high-definition and high-quality art resources of art galleries to be widely shared on Internet platforms. It provides convenient cultural services for audiences restricted by time and distance, and this initiative has also become an important part of the daily work of art galleries.
Another breakthrough is that relying on digital platforms, it can efficiently and stably realize remote synchronous teaching, live teaching and course recording, accurately delivering high-quality art education resources from art galleries to regular art classrooms. This not only effectively promotes the overall improvement of the quality of aesthetic education in remote areas and rural areas, but also provides key support for improving the professional literacy of grass-roots art teachers.
The common connecting line of the three points: Jiangsu, Shanxi, and Jiangxi
For a long time, the public education activities of the Jiangsu Provincial Art Museum mainly focused on traditional offline workshops, lectures, and guided tours, which had limitations such as a narrow coverage and resources being mostly concentrated in developed areas. Therefore, starting from 2021, the Jiangsu Provincial Art Museum launched the "Art Inspires the Soul" youth aesthetic education program. This program, featuring remote interaction as its core, has built a curriculum system integrating online and offline aesthetic education courses, carried out rural public education activities, and joined hands with experienced primary and middle school teachers from municipal and district levels to form a professional teaching team. So far, the team has grown to more than 40 people, and has carried out over 100 online and offline aesthetic education courses in 19 counties and districts, more than 40 primary and middle schools, and 10 communities in Jiangsu, Shaanxi, Jiangxi, Tibet and other regions, covering more than 10,000 students.
The courses not only focus on knowledge output but also attach importance to practical experience. For example, Jiangsu is the hometown of watermark printmaking. To deepen the practical experience of aesthetic education courses, the project specially designed and distributed a "watermark printmaking experience package" to each student, and sent supporting tools and materials to cooperating rural schools, allowing students to personally experience the joy of creating watermark prints. This measure has effectively made up for the shortage of practical resources for rural aesthetic education.
The students of Pukou Dougang Primary School in Nanjing are having a class
At the digital technology level, the project relies on the "Internet + Aesthetic Education" dual-teacher classroom model, comprehensively utilizing scenarios such as audio-visual interaction, distance teaching, and live lectures. The online teaching platform takes the collections and exhibition resources of the Jiangsu Provincial Art Museum as the core content of the courses, which has greatly expanded the radiation range and social benefits of the museum's public education, allowing the public to gain a more multidimensional experience.
To sum up, through innovative practices empowered by technology, the Jiangsu Provincial Art Museum is effectively promoting the coverage of cultural and artistic resources to a wider group and creating richer experiences. These projects and activities driven by in-depth digital technology not only enrich the content and form of exhibitions but also make the art museum increasingly an important link connecting social life, taking deeper roots in the daily life of the public.
Development and Trial Listening of Woodcut Printmaking Course
Jiangsu Provincial Art Museum is assuming a more open and inclusive posture, earnestly fulfilling its mission as an important public cultural service institution, and committed to ensuring that the abundant artistic achievements truly serve the people's growing spiritual and cultural needs.
Introduction of the Speaker
Wang Fa
Wang Fa, a native of Nantong City, Jiangsu Province, graduated from Nanjing Normal University. He currently serves as Director, Secretary, and First-Class Artist of the Jiangsu Provincial Art Museum. He is also a Director of the China Artists Association, a recipient of the government special allowance, a member of the National Art Committee of the China Artists Association, a distinguished researcher of the Chinese Painting Professional Committee of the China National Academy of Painting, a distinguished researcher of the Fine Brushwork Painting Academy of the China National Academy of Arts, Director of the Flower-and-Bird Painting Art Committee of the China Fine Brushwork Painting Society, and an adjunct professor at the School of Arts, Nanjing University. His works have been selected into the 3rd National Youth Art Exhibition, the 8th, 13th, and 14th National Art Exhibitions. He won the Bronze Award at the 10th National Art Exhibition, the Award Nomination at the 11th National Art Exhibition, the "Fu Baoshi Award" in 2015, the 2nd, 3rd, and 4th "Jiangsu Wenhua Art Award", and was named "Zijin Cultural and Artistic Talent" of Jiangsu Province in 2020.
Chief Editor / He Yisha
Responsible Editor / Du Yinzhu
Editor / Wang Yifan
Text Compilation / Li Ze
