【艺·凯旋】文章 | 张凯访谈：自我艺术体系的梳理与建立 | 自由微信

【艺·凯旋】文章 | 张凯访谈：自我艺术体系的梳理与建立

艺凯旋画廊 2021-01-17

刘=刘静张=张凯

刘：从2008 ，2010 ，2013，2015到今年的第五次个展，你作品的主题基本延续着“对经典作品的挪用＋猫，兔的拟人形象”，是什么让你一直坚持同一个主题？

张：这个出发点和自己的审美偏好有关。我最开始喜爱的是后印象派，塞尚、梵高他们，但那会儿小，不明白什么派系之说，只是以一个孩子的眼光看他们，觉得他们的作品有种涂鸦似的自由自在。后来上大学时开始系统的接触艺术史，发现艺术史是各种传统不断被打破，又不断迂回重建的过程，越是宏观且深入的了解艺术史越是对艺术传统的溯源感兴趣。兴趣点从开始的后印象派到文艺复兴，再到更早的中世纪绘画，这是一个审美回溯的过程。

说到猫跟兔子，它们就是我画面的主角，一直出现在我的作品中，有时我以旁观者的视角看它们，有时它们又是我自己的分身，我有意识的通过它们避开现实的逻辑使画面导入一种脱离现实的自足状态。它们优雅，神秘，矛盾，独立，与我想表达的情境非常贴切，以它们来表达我的所思所想恰如其分。

刘：如你所言，猫和兔有时是你的分身，那在这次展览中，有哪些作品代表了你的分身？

张：比如这次展览中的《林泉高致》那张画就是，它是一种诗意的表达。

刘：在这十年来的创作道路上是否产生过自我怀疑或危机？

张：我把它理解为自我艺术体系的梳理与建立。多元化是当代艺术最重要的一个特征，这源自人本主义哲学对现代艺术的影响。从现代艺术开始，艺术家们试图不断打破即有艺术的边界，各个艺术流派层出不穷，类似于生物界的寒武纪生物大爆发。这一时期出现的艺术流派比以往的任何时期都要密集与丰富。一直到后现代主义杜尚的出现，他打破了艺术与非艺术的边界，即一切事物都可以是艺术。从哲学思辨的角度考虑，如果一切事物都是艺术，那艺术也就没有意义了。他推倒了一切即有艺术。艺术似乎变成一片废墟，却又像是一个新世界。当代艺术便是从这片废墟中不断萌芽出的花园，花园里百花齐放。西方现代哲学的两大流派科学主义和人本主义对其有很大的影响，一方面，现在可以看到与最新科技相结合的艺术形式，另一方面，我们又可以看到从各个艺术传统再出发，融合演变的艺术形式。我从自身和当代视角出发寻找那散落在历史某处的吉光片羽，这是一个拾遗，重建的过程。在这条创作道路上，我从来没有动摇过。

刘：对比现在和十年前的作品，你觉得在哪些方面能体现出你的成长？

张：我觉得大概可以从两个方面来体现：一方面纵向的看这十年间的作品，猫和兔子的主体形象是有所演变的。“迁想妙得”与“传神写照”是顾恺之提出的重要的美学原则，深刻的影响了之后中国的艺术，这也是对每个东方人潜移默化的影响。它们的形象就是我内心“迁想妙得”的产物。这个形象日渐成熟，成为更富有精神性的艺术形象。另一方面是在叙事上我在做减法。具象绘画都存在叙事这个特点，从前我试图在讲一个故事，现在我只想描绘时间轴中的一帧。

刘：从达·芬奇到维米尔、拉图尔、安格尔等等画家，他们的经典作品都被你挪用过，你选择这些经典作品为素材时，有怎样的标准吗？ 或者说有哪些特质吸引了你？

张：还是自我审美上的选择。达·芬奇是艺术家中知名度最高的。不光是学艺术的，各行各业对达芬奇都不陌生。历史上对他的记载与分析也非常多。对维米尔的记载可能赶不上他的零头。但是达·芬奇最吸引我的特质还是神秘。维米尔在当今艺术史中的位置非常重要，但他却被历史遗忘了近两个世纪。我们对他的生活知之甚少，知道他有一个负担沉重的家庭。但面对他的作品，我看到了他内心的宁静，对艺术而言这份内心的宁静是最重要的。宁静、神秘、诗意这些作品中的特质也都是我追求的。将他们的这些经典作品挪用到我的作品中对照关联，使画面产生了新的情绪和意义。挪用是20世纪60年代后现代主义谱系中一种主导性的创作方法，但我们纵向的看艺术史会发现一条很有趣的线性关联。卡拉瓦乔也是我钟爱的艺术家，我在《捉迷藏》中挪用了他的《丘比特》这是我很爱的一张画。同样喜爱卡拉瓦乔并受卡拉瓦乔图式影响最大的是德里克·凡·巴布伦。维米尔也偏爱“画中画”的形式，在他的《弹建琴的女人》这幅画的背景中我们又看到了受卡拉瓦乔影响深刻的德里克·凡·巴布伦的《老鸨》。这张画同样出现在维米尔的另一件作品《音乐会》中，看来德里克·凡·巴布伦对维米尔是有些影响的。那维米尔又对谁产生过影响呢？在达利的《代夫特的维米尔的鬼魂》中我们看到他挪用了维米尔《绘画艺术》中画家的形象，在他眼里维米尔是位鬼魅画家，从他的画中看到了充满神秘光辉的广袤天地。他把维米尔置换在了这充满光辉的神秘旷野，同时画家的身体延伸了桌子，上面放着酒瓶酒杯。这使得两张画产生了截然不同的情绪。挪用不是简单的复制，是通过不同图像的对照关联使作品产生新的表达与意义。

刘：2011年的作品《那心中的美丽》与2018年的《林泉高致》都挪用了郭熙的《早春图》，这件中国山水画中里程碑式的作品是否对你有特别的影响和意义？

张：郭熙是我最爱的中国画家，他身处那个中国历史上文化艺术的黄金时代。我的作品里多次的出现过他的《早春图》，这件他的晚年作品中山水叠嶂，有盖有承，有据有倚。这一派卧游之像不是自然之像，而是“迁想妙得”的内心图景，它触及到艺术主观表现和客观制约的辩证关系，这是中国绘画一个重要的美学原则。郭熙不单是画家也是理论家，《林泉高致》这件作品的名字来自于他的画论著作。画中的小猫站在《早春图》前手捧太湖石伫立相视，画面流露着诗意的表达，这和悬挂的早春图有种微妙的对照关系。郭熙在《林泉高致》的《画意》篇中论述诗意与绘画的关系，这个对我是很有影响的。这种将自然之物赋予精神与情感的观念都是我所在意的。

刘：在2018年创作的《虹》和《林泉高致》中，都出现了之前作品中比较少见的太湖石，这个素材的出现有怎样的契机，或者说有什么样的含义吗？

张：《林泉高致》中那块太湖石来自于生活原型，它是我去苏州寻访得到的，后来我就把它画在画中了。太湖石在中国文化里充满了人文隐喻和象征意味，包含着多重文化内涵，是中国林泉文化与文人精神的映射和延伸。它的出现不仅体现了自然的表象之美、满足了平衡构图的需要，更是对物质与精神关系的思考。

刘：在《伊里斯与独角兽》中，iris指的是彩虹，而在《掌中的伊里斯》中，iris指的则是小猫两掌之间的小星球，iris这个词在两件作品中指向不同概念形象，如果观众对这个词没有全然理解，会产生困惑，并且会努力寻找两件作品之间的联系。这种似是而非的关系就像藏在作品中的“彩蛋”，你在创作之前就想好iris这个“梗”了吗？

张：是在创作之前就想好了。但最开始的产生是直觉，而不是逻辑，这是我绘画的一个方法论。我的作品是以直觉为出发点的。一些图像符号构图会模糊的出现我脑中，我知道似乎要表达什么，但又不确定，这个源自克罗齐和科林伍德等人哲学思想对现代艺术的影响，是对艺术及直觉的重新解读和表达。之后经过考虑，我会选择特定的图像或符号，我很喜欢用文字、图像、符号等暗喻象征的手法，它可以使画面产生多重含义和不确定性，人们会通过自己的经验与学识找到溯源与边界。面对同一张画，所有人看到的都是不同的，你觉得优雅、他可能觉得艳俗，你觉得寡淡、他可能会感到安详，这和不同的学识经历审美有关。每个人眼中的世界都是不同的，就像我们看到的彩虹一样，我们能看到彩虹的原理是阳光与眼睛成同一直线后看到的一个锥状视角，这一光学原理决定了由于视角不同每个人看到的彩虹其实都是不同的。彩虹的这一特性与我想表达的不谋而合，我们与艺术的关系不是被动接受它传达给你的意识，而是通过凝视它看到内心的自己。对人的思想有侵入式影响的不是艺术，而是文学，他能更大的影响或改变人们的世界观，这是外源性的影响。而艺术更像一面镜子，你赤裸裸的站在它面前，它忠实的映射着你的一切。我们在面对同一件艺术品时，每个人都会有自己的解读，甚至是误读，但这很重要，因为那个时候你在别人的作品里看到了你自己。这种“内观”是艺术最重要的价值。

刘：在你的作品中经常出现红色的帷幔，营造出一种舞台效果，这样做是要刻意显示出画面与现实的隔离感吗？

张：红色帷幔在我这里也是有象征意义的，它象征着人生。我的创作是多个系列同时进行的，而不是围绕单一观念主题，衍生出全部作品。这种创作方式与我的生活和精神生活的时间轴相关联，帷幔后上演的是时间中的思想与感悟。

刘：在80后的艺术家中，有很多人选择用卡通形象来进行创作，你的作品中的猫和兔的形象也有卡通化的倾向，你认为自己的作品与其他“卡通一代”的不同体现在哪里？

张：纵观艺术史我们会发现艺术一定会与它所处的时代产生交集，当代艺术这个特征更加的明显。卡通漫画等等是我们儿时的理想主义情结，童年的影响对人的一生都是很深刻的。描绘这些是自然而然的事情，而“度”的把握是区别于其他艺术家的一种直觉选择，这和一个人的内在气质有关。“卡通一代”是一个泛指，这些艺术家都有卡通特征又各有不同，如果从宽泛的角度来看，我与其他“卡通一代”最大的区别可能体现在对艺术融合与重建的选择上，“卡通一代”与波普艺术的关系更接近，平面、热烈、直接。而我受古典主义的影响比较大，是与古典精神的融合与重建，是一种婉约、安静、诗意的表达。

刘：是否曾经考虑过在作品中更多的体现对现实生活的关照？

张：其实我的作品一直表现的就是现实生活。现实生活分为精神生活和物质生活，我表达的其实是现实的精神生活。克罗齐说“一切历史都是当代史”，我在时间的长河中寻找那与现实生活对照关联的时间图像。

刘：从2008年第一个个展开始，今年正好是第十年，这次个展对你来说是否有特别的意义？

张：十年弹指一挥间，在感叹时间的流逝的同时，我也感谢时间给予我的礼物，叫我一点点触摸到艺术的本质，人生就是由一个一个节点串连成的。这次展览的题目是“礼物”，感谢时代给予当代艺术的“礼物”，感谢时间和艺术给予我的“礼物”，也将这次展览作为“礼物”献给喜欢我作品的人们。

刘：与艺凯旋画廊这么多年的合作，保证了你在职业艺术家道路上的发展。这种稳定的合作关系给你带来最深的感受是什么？是否会影响你的创作？

张：艺凯旋是很专业和成熟的画廊，我管画廊的负责人叫兰芳姐（注：李兰芳女士），她就像姐姐一样，人很好，很看重和支持艺术家的独立思考，给艺术家很大的支持，可以让你心无旁骛的去做自己想做的东西。

刘：会关注自己的作品在市场中的反响吗？这十年间你的作品价格逐步走高，对此你有什么感受呢？

张：我不关心市场，我只关注自己作品，创作之外的事情都有画廊来帮忙处理，我从不过问。当然价格走高说明人们喜欢我的作品，自己的作品被别人喜欢，还是很开心的一件事。

刘：想对下一个十年后的自己说什么？

张：你好，看到你还是这么安静，我很安心。

Liu = Liu Jing, Zhang = Zhang Kai

Liu: In your five solo exhibitions in 2008, 2010, 2013, 2015 and this year, the appropriation of classical works and anthropomorphic images of cats and rabbits have always been present. What is it that keeps you going back to these practices?

Zhang: It all started with my aesthetic preferences. Initially I was quite avid about post-impressionists such as Cézanne and Van Gogh. I was young then and had no idea about schools of art. I liked them with the eye of a child, and their works beamed with graffiti-like freedom to me. In college, I learned through systematic courses that art history is a process in which various traditions are constantly being disrupted and rebuilt at once. With more macroscopic and in-depth understanding of art history, I began to take an interest in tracing back artistic traditions, quite an aesthetic retrospective process.

Cats and rabbits have acted as my motifs for a long time. Sometimes I approach them as bystanders, and sometimes they are my own avatars, who help me steer clear of the logic of reality to attain a state of surreal self-sufficiency. It is only appropriate to express what I think with their images, whose characteristics of elegance, enigma, contradiction and independence fit well with the atmosphere I have in mind.

Liu: As you said, cats and rabbits are sometimes your avatars. In which works of this exhibition is the case?

Zhang: Lin Quan Gao Zhi is a case in point. It’s quite a poetic approach.

Liu: In the past ten years, has there been any self-doubt or identity crisis with your creation?

Zhang: The way I see it, it has been a time for me to review and set up my own art system. One of the most important features of contemporary art is diversification, which stems from the influence of the humanistic philosophy on modern art, which witnessed an more than ever intensive outbursts of art schools, splitting up boundaries of pre-existing art traditions, analogous to the biological explosion of the Cambrian period. Then post-modernist Duchamp blurred the line between art and non-art, and declared that everything can be art. From the philosophical perspective, if everything is art, then art is meaningless. Art seemed to become a ruin, from where a new world was born, contemporary art being the blossoming garden in it. The two major schools of Western modern philosophy, scientism and humanism, have a great influence on contemporary art. On the one hand, there are art forms integrated with the latest science and technology. On the other hand, art traditions have been evolved into new forms. Against this background, I’ve been scavenging for the scattered treasure in history and building something new out of it. On this path I have never wavered.

Liu: Compared with your works a decade ago, in what ways do you think you have progressed?

Zhang: I think it can be reflected in two aspects. For one thing, the image of cats and rabbits have been changing in the past ten years. looking at the works in the past ten years, the main images of cats and rabbits have evolved. Two aesthetic principles put forward by Gu Kaizhi, a celebrated painter of ancient China, have had profound influence on Chinese art and artists. He believed in the inspirational creation born of associated thinking and the capture of the spirit in portrait. This is how I produce the image of my cats and rabbits. They have become better-developed and spiritual over time. For another, I’ve been reducing the element of narrative in my paintings. In the past, I always tried to tell a story with my paintings, but now I tend to focus on the depiction of one frame in the timeline.

Liu: You have appropriated works from Leonardo da Vinci, Vermeer, Latour, Ingres, etc. What standards do you hold when you choose them? Or what kind of qualities have you been attracted to?

Zhang: It is still an aesthetic choice. Da Vinci is one of the most famous artists. People from all trades are familiar with his accomplishments. And there’re overwhelming historical documents and analysis about him. But I’m most attracted to him by his enigma. Vermeer holds a very important position in today’s art history, but he was forgotten by history for nearly two centuries. We know very little about his life; he was the breadwinner for a large family. But in his works, I see his inner peace. For the sake of art, this is the most important. Tranquility, mystery, and poetry are all qualities I seek. Appropriating these classics to my works creates new emotions and meanings. Appropriation is a dominant method of creation in the post-modernist pedigree in the 1960s, but we see a very interesting linear association if we trace back art history. Caravaggio is also one of my favourite artists. In Hide and Seek, I appropriated his Cupid which I love. This is a picture I love very much. Dirck van Baburen also loved Caravaggio and was greatly influenced by him. Vermeer also liked to paint image within image. In his Lady Seated at a Virginal, we can see Procuress by Dirck van Baburen, which also appears in Vermeer’s The Concert. It cannot be denied that Dirck van Baburen did have some influence on Vermeer. Then whom did Vermeer influence? In Dali’s The Ghost of Vermeer of Delft, we can see the appropriations of the artist from Vermeer’s The Allegory of Painting. Vermeer must have been an intriguing painter in whose painting he saw the light of the mysterious and broad space. That’s why he appropriated the artist in this wilderness full of light. At the same time, the body of the artist extends the table, on which there are wine glasses. Two diametrically opposing emotions are created. Appropriation is more than making copies. It is about creating new expressions and meanings by referencing different images.

Liu: Guo Xi’s Early Spring was appropriated in both Beauty in Heart in 2011 and Lin Quan Gao Zhi in 2018. Could it be said that this landmark landscape painting holds special significance to you?

Zhang: Guo Xi, my favorite Chinese painter, is from the golden era of Chinese culture and art. His Early Spring has appeared more than once in my works. This is one of his works in his late years. In the scroll, mountains and streams are presented one after another and spread naturally all over the place. This image of grandeur is not an image of nature, but an image from his heart. It touches on the dialectical relationship between subjective representation and objective constraints of art. This is an important aesthetic principle of Chinese paintings, as well as the essence of art. Guo Xi was not only a painter but also a theorist. This work of mine borrows the title of his text on painting theory, Lin Quan Gao Zhi (The Lofty Message of Forest and Streams). The cat stands in front of the painting, holding the Taihu Lake stone. It has a poetic expression. There is a subtle contrast to the hanging Early Spring. In the text of Lin Quan Gao Zhi, Guo Xi’s saying about the relationship between poetry and painting has had much bearing on my works. This idea of endowing nature and things with spirit and feelings is also what I’m pursuing.

Liu: Both Rainbow and Lin Quan Gao Zhi created in 2018 have a Taihu Stone in them, which is rarely seen in your previous works. Why do you use this element? Does it refer to anything?

Zhang: The Taihu stone in Lin Quan Gao Zhi is a copy of a real-life stone, which I discovered in Suzhou. In Chinese culture, Taihu Stone is charged with humanistic metaphors and symbolic meanings, reflecting and extending the Chinese culture of wood and spring. Its appearance not only embodies the beauty of natural appearance, balanced the composition, but also reflects the relationship between the material and the spiritual.

Liu: In Iris and Unicorn, “iris” refers to the rainbow, and in Iris in Hand, “iris” refers to the small planet between the palms of a kitten. The word “Iris” has two different conceptual images. If the audience does not fully understand the word, it is likely they will be baffled and try to find the connection between the two works. Did you come up with this detail before you painted them?

Zhang: Yes, I did. But at first it was just an instinct with no rationales whatsoever. This has always been my painting methodology. I start with my intuition. Images, symbols and compositions would pop up in my mind and I know what to express, but I’m not sure. It’s more of re-interpretation and representation of intuition, originating from the influence of the philosophical thoughts of Croce and Collingwood on modern art. After much consideration, I will choose specific images or symbols. I like to use metaphorical symbols such as words, images, symbols to produce multiple meanings and uncertainties. People will trace back to the origins and boundaries through their own experience and knowledge. People see different things in the same picture. Some see elegance where others see gaudiness; some see lukewarmness where others see peace. It comes down to different learning experience and aesthetics. Just like a rainbow, which is nothing more than a cone-shaped perspective that forms when the sun is in the same line with the eyes. So the rainbow that everyone sees is different. This feature of the rainbow coincides with what I want to express. Our relationship with art is not to accept the consciousness it conveys to you, but to gaze at it to see our inner self. It is not the art but the literature that has an invasive influence on people's thinking, or even 0change people’s world view. This is an exogenous influence. Art is more like a mirror. You stand naked in front of it. It faithfully shows everything to you. When we face the same piece of art, everyone will have their own interpretation, or even misunderstanding, but this is very important, because at that time you see yourself in the works of others. This kind of insight into oneself is the most essential value of art.

Liu: In your works, there are often red curtains that create a stage effect. Are you deliberately separating the image from reality?

Zhang: The red curtain is symbolic of life. A number of series are being made simultaneously, rather than deriving works from one single theme. It is in pace with the timeline of my spiritual life, and what hide between the curtain are my thoughts and sentiments about time.

Liu: Many post-80s artists choose the cartoon image in their works. In your case, the cats and rabbits also tend to be cartoonized. What do you think distinguishes your works from other “cartoon-generation” artists?

Zhang: Art history dictates that art and the times it’s in always have something in common; it is particularly the case with contemporary art. Cartoons remain a complex of the ideal which lasts long into adult life. It is only natural to paint those images, and what distinguishes one from another is the degree to which artists apply their instincts. It is related to one’s temperament. The “cartoon generation” is a generic term. They have created cartoon images peculiar to their own. In broad terms, the biggest difference between me and the other “cartoon-generation” artists may be reflected in my choice of art fusion and reconstruction. While their flat, fervent and straightforward style is closer to pop art, mine is more of a subtle, serene and poetic expression of the classical spirit.

Liu: Have you considered referencing more of the real life in your works?

Zhang: Actually, my work always shows real life. Real life is divided into spiritual life and material life. What I express is the real spiritual life. Croce said that “all history is contemporary.” I look for the image of time associated with real life in the long river of history.

Liu: This year marks the tenth year since your solo debut in 2008. Does this solo exhibition have special meaning for you?

Zhang: How time flies fast! But I’m also grateful for the gift that time gives me. I’m moving closer to the quintessence of art. Life is made of dots connecting each other. The passing of time I also thanked me for the gift that time gave me. The theme of this exhibition is “gifts”. I’m grateful for the gift that our time gives contemporary art, for the gift that time and art give me, and I’d like to dedicate this exhibition as a gift to all those who like my works.

Liu: Your years-long cooperation with Triumph Gallery has guaranteed your steady progress as a professional artist. What do you think of your cooperation as such? How does it influence your creation?

Zhang: Triumph Gallery is a very professional and mature gallery. Ms. Li Lanfang is the lady in charge, and I call her Sister Lanfang, because she is like a big sister to me. She’s very nice. She values independent thinking and supports artists to do what they want.

Liu: Do you concern yourself with the market response to your oeuvres? In the past decade, the price of your works has gradually gone up. How do you feel about this?

Zhang: I don’t really care about the market. I only pay attention to my own work. My gallery will see to those matters. I never ask about it. Of course, higher prices mean that people like my work, and I’m happy about it.

Liu: What do you want to say to yourself in the next decade?

Zhang: Hi there. I am very pleased and relieved to see you still so quiet, focused and detached.

礼物-张凯个展作品 | Artworks

虹|Rainbow|D=60cm|布面油彩|Oil on canvas|2018

礼物|Present|80x100cm|布面油彩|Oil on canvas|2018

小世界|The little World|30x25cm|布面油彩|Oil on canvas|2018

捉迷藏|Hide-and-Seek|120x120cm|布面油彩|Oil on canvas|2017

空想|Fantasy|60x120cm|布面油彩|Oil on canvas|2017

Tell Me|60x90cm|布面油彩|Oil on canvas|2014

猫 No.1|Cat No.1|50x40cm|布面油彩|Oil on canvas|2007

手稿 | Manuscripts

《虹》手稿|Study for Rainbow|29.8x21.3cm|纸本素描|Sketch on paper|2018

正在展出

Current Exhibition

礼物-张凯个展

Present - Zhang Kai Solo Exhibition

艺术家 | Artist：张凯 Zhang Kai

开幕时间 | Opening Ceremony：2018年6月23日 4:00pm

展览时间 | Duration：2018年6月23日-2018年7月31日

艺·凯旋画廊

Triumph Gallery

艺·凯旋画廊于2007年在北京798艺术区创立至今。近十年来艺·凯旋画廊与泛亚洲地区的众多藏家和艺术机构建立了良好的关系。画廊依据二十世纪以来中国艺术发展的内在脉络以及美术史的传承和发展方向经纪代理了方力钧、潘德海、贾滌非、梁缨、李玉端、李新建、蔡锦、徐弘、杨黎明、潘剑、何杰、涂曦、许宏翔、张凯等知名中青年艺术家。艺·凯旋画廊通过与众多具有影响力的策展人、美术馆及其他机构合作策划不同形式的展览和艺术项目从而帮助艺术家构建其艺术职业生涯。

Triumph Gallery was founded in 2007 in the heart of 798 Art Zone, Beijing and forms strong relations with Asian collectors since over 10 years. The Triumph Gallery represents established and emerging Chinese contemporary artists, such as Fang Lijun, Pan Dehai, Jia Difei, Liang Ying, Li Yuduan, Li Xinjian, Cai Jin, Xu Hong, Yang Liming, Pan Jian, He Jie, Tu Xi, Xu Hongxiang and Zhang Kai. The mission of Triumph Gallery is to work on the careers of artists, by enabling collaborations with museums and institutions and by supporting projects outside of the gallery walls. Various exhibitions have been organized and curated by influential curators.

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地址：北京市朝阳区酒仙桥路798艺术区2号院A-05

Address：A-05 ,798 Art Zone,No.2 Jiuxianqiao Rd., Chaoyang District, Beijing, China

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开放时间：周二至周日 10：00-19：00

Opening Hours：Tuesday-Sunday 10:00-19:00

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