30周年 | 90年代

Red Gate Timeline Online View

识别二维码，浏览红门画廊30周年时间轴

90年代 90s

Author作者: Brian Wallace 布朗·华莱士

1992年，17位北京艺术家作品义卖 请柬

冬天迫近后，我们便无法再在东便门角楼工作了，因为当时无法在这座古建筑中解决取暖问题。他们好心地在北京中国大饭店找到一个地方，我们终于搬到了那里。当时的情况下，尽管东便门角楼是一个非常好的场所，但被认为太难前往——它位于火车铁轨极为不便的一侧，而且所在城区当时还不是很热闹。

Winter was approaching and we could not work in the Watchtower because there was no way to heat it.  We were kindly offered a space at the China World Hotel, where we eventually moved.  In those days, the Watchtower, though a fantastic location to have, was perceived as too inaccessible - literally on the wrong side of the railway tracks, in a rundown part of town.

红门画廊90年代导航图

 当时中国国内不大的现代艺术市场主要集中在北京，顾客几乎百分之百是在华居住的外籍人士以及路过的外国人。在红门开业之前，香港就已在开拓这一领域的市场，尤其是通过汉雅轩、万玉堂、少励画廊以及《亚洲艺术新闻》杂志。不过，到90年代中期，其它国内机构开始进入画廊业，如艺术文件仓库、四合苑画廊，以及少量当地人拥有的画廊，包括可创铭佳艺苑、秦昊画廊、云峰画苑，以及许多其它来去不定者。另外，有些展览突破性地远赴海外，其中最早的是1992年的“中国新艺术展”，这些海外展览使更多的国际观众受教获益。

The small market for contemporary art was Beijing-based and was 100 per cent with the expat community and foreigners passing through.  Even before Red Gate opened, the market was promoted in Hong Kong particularly through the work of the Hanart TZ, Plum Blossoms and Schoeni galleries and the magazine Asian Art News. However, by the mid-90s other players in China were entering the gallery scene - China Art Archives and Warehouse and the CourtYard Gallery, as well as a handful of locally-owned galleries including Creation, Qin and Wan Fung, and many others which came and went.  As well, there were ground-breaking shows traveling overseas starting with New Art From China -- Post - Mao Product in 1992, which were educating a larger international audience. 

到90年代晚期，艺术界的活跃程度已经超过了80年代晚期。许多新的策展人、作家以及艺术评论家开始崭露头角，或者再次出山或重返艺术圈。新的出版物、艺术博览会、拍卖行以及其它替代性的（但昙花一现的）艺术场所突然纷纷出现。国际上，香港以外的许多画廊开始代理中国艺术家：伦敦、纽约、悉尼、旧金山以及柏林开始注目中国艺术。

By the late 90s, the art scene had already surpassed the liveliness of the late 80s.  There were many new curators, writers and critics emerging or re-emerging and returning.  New publications, art fairs, auction houses, and alternative (but short-lived) art spaces were cropping up.  Internationally, a number of galleries beyond Hong Kong started to represent Chinese artists: London, New York, Sydney, San Francisco and Berlin were starting to take notice.

1993年，在中国大饭店举办苏新平个展的请柬

我们在中国大饭店一直呆到1999年，那时北京文物局找到我们，要红门再回到东便门角楼。我们当即同意在那里的顶楼重开。不到数月，将角楼底层也归我们使用，设计了办公区域得以度过寒冬。到该年年底，我们彻底完成了搬迁，离开了中国大饭店。红门画廊回家了，画廊就是因东便门角楼的巨大红门而得名的。我们回到了那厚厚的红门之后，终于安顿在了唯一幸存的明代角楼中。

We remained at the hotel location until 1999 when the Bureau of Cultural Relics approached us to return to the Watchtower.  We agreed immediately to re-open there at the top level and within a few months were able to secure the ground floor and build an office area, allowing us to work through the winter.  By the end of the year, we had re-located completely, leaving China World.  Red Gate was back home, behind the large red doors for which the gallery was named, and secure in the only Ming Dynasty corner tower in existence. 

我们展览频频，日程紧密，很快就于2001年庆贺十周年，举办了名为“迹象未来”的展览。这是一个令人振奋的画廊代理艺术家的展览，他们的作品标示着未来发展的方向，而非沾沾自喜的对过去成果的回顾庆贺。那是一个直觉性的展览，昭示着这些艺术家与红门所面临的发展机遇。在这不平凡的十年中，我们靠着紧张的预算与缓慢增长的销售额而得以生存发展。我们一直在艰苦拼搏，甚至无力印刷十周年庆专刊。

Our exhibition program was in full swing, and we soon celebrated our tenth anniversary in 2001 with an exhibition called Clues to the Future, an exciting presentation of gallery artists who showed work indicating where they were heading, rather than a retrospective celebrating where they had been.  It was an intuitive show hinting at what the future held for these artists, and for Red Gate.  Although we had survived a remarkable ten years on a shoestring budget and slowly increasing sales, it was always a struggle; we could not even afford to print the 10th anniversary catalogue!  

虽然我们资源有限，我对与我们合作的艺术家却一直满怀信心。我深信公众对中国现代艺术的兴趣确实在不断增长，因而也就会有相应的艺术市场。

Though we were limited in resources, I always believed in the artists.  I knew that there was a growing interest, and therefore a market, for contemporary Chinese art.   

（未完待续……）

Memory Wall of 1990s

20世纪90年代的记忆墙

更多记忆，请移步红门画廊

红门画廊

红门画廊Red Gate Gallery由澳大利亚籍人士布朗·华莱士Brian Wallace创办于1991年，是中国最早经营当代艺术的外资画廊。三十年来，红门画廊始终致力于中国当代艺术推广和国际艺术联络。邀请国际、国内知名策划人在红门画廊策划当代艺术活动，进行高水平的学术交流，向中国观众介绍国内外当代艺术，为中国当代艺术的发展以及中西方的艺术交流做出了巨大的贡献。

图片来源为红门画廊

版权归红门画廊和艺术家所有

Images courtesy of Red Gate Gallery

Copyright Red Gate Gallery and the artists

Red Gate Gallery @ 798

更多媒体资料，请联系

[e-mail]

For more information, please contact

[e-mail]

Directions to Red Gate Gallery

地图索引

Copyright © 2021 Red Gate Gallery, All rights reserved.

Tel | 电话 : [phone]

Email | 邮箱 : [e-mail]

Address: 798 Art District, No. 2 Jiuxianqiao Road, Chaoyang District, Beijing, China

地址 : 北京市朝阳区酒仙桥路2号, 798艺术区