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21世纪 21Century

Author作者: 

Brian Wallace 布朗·华莱士

为了充分利用我们在东便门角楼独特场所的开阔场地，我们开始承办国际展览，同时我们也邀请当地的策展人举办他们自己的展览。在这个时期我们敏锐地感到有些事情就要发生。也就是在这个时候，由于缺乏足够的画廊与展览设施，失望之余，艺术家们开始在北京城不同区域的工作室群落中联合起来。这起初发生在位于机场高速路中部的北皋。

Taking advantage of the size of our special location, our program began to include international exhibitions, and we also invited local curators to present their own exhibitions at the Watchtower.  We felt something was just around the corner.  And it was at this time, in a frustrated response to the lack of gallery and exhibition infrastructure, that artists banded together in studio compounds in different parts of the city, initially at Bei Gao, half way along the Airport Expressway. 

1998

Retake: A selected exhibition reviewing Red Gate Artists’ Signature Works 再现

Curator策展人: Carolyn Fitzpatrick 

Artists艺术家: Liu Qinghe 刘庆和, Su Xinping 苏新平, Aniwar 艾尼瓦尔, Li Gang 李刚, Sui Jianguo 隋建国, Tan Ping 谭平, Zhou Jirong 周吉荣, Wang Lifeng 王利丰, Wang Luyan 王鲁炎, Qi Yifeng 秦一峰, Zhang Yajie 张亚杰, Zheng Xuewu 郑学武, Guan Wei 关伟

我们意识到这一新发展的重要性，于2001年启动了红门画廊访问艺术家项目，国际艺术家得以来北京，在北皋的工作室环境中与中国及其它国家的艺术家们一起创作。这一举措将红门画廊推到全世界完全不同的公众面前——这些作为新观众的现代艺术家，感觉必须在独特的中国氛围中工作并深切体会它。陶醉吸引人的倒并不是经济驱动的无比强大魔力，而是中国正在经历的种种变化，以及这巨大变迁的节奏感——而这一巨变已经而且还正在重新刻画着中国及其人民和文化特质。

In 2001, recognising the importance of this development, we launched our Artist in Residence program, to bring international artists to Beijing to work in a studio environment alongside Chinese and other international artists.  This program placed Red Gate Gallery before a totally different public around the world - a new audience of contemporary artists who felt they had to work in and experience the phenomenon that was China.  It wasn’t the economic juggernaut which was appealing, but instead all the changes the country was going through, and the pace of the change which was and is repainting the nature of China, its people and its culture. 

2005 

First Five Artists in Residence 红门画廊第一届访问艺术家联展

Artists艺术家: Shen Jingdong 沈敬东, Xu Wentao 徐文涛, Chen Yufei 陈宇飞, Sun Baijun 孙佰钧, Chen Wenling 陈文令 

进入2003年，我确信这对红门以及北京与上海的其它几个画廊而言，都将是重要的一年。艺术家们有更多机会展出作品，国际上对中国艺术的兴趣日益增长，政府的态度也更为宽松包容。艺术双年展与三年展在全国许多地方都是展示当地繁荣的重头戏，显示出官方的支持。冬季过后的三四月通常是每年展览日程开始的时间，正当我们开足马力准备在03年大干一场时，中国与亚洲其它国家受到了非典的侵袭，其严重后果一直持续到当年十二月。

As we faced 2003, I was sure that it would be a big year for Red Gate and the few other galleries in Beijing and Shanghai.  There were many more opportunities for artists to exhibit, greater international interest and a more tolerant attitude by the government.  Biennales and Triennales were de rigueur around the country, indicating an official nod.  As we geared up for our 2003 program, which normally started in March/April each year after the long winter, we and the rest of Asia were hit by SARS, the impact of which lasted to December. 

然而我们坚持了过来，并带着举办诸多展览的雄心壮志进入了2004年。这段时间艺术界开始发生巨大变化。更多画廊开业，策展人开始更为积极地开发北京城中的展览场所。在国外代理中国艺术家的海外画廊开始在北京开设业务。尤其重要的是，中国公众对艺术的喜爱不断增长，开始频繁参观画廊与展览，中国大陆人也开始开设大量的艺术场所来迎合这一趋势。

We managed through it, however, and then launched into 2004 with an ambitious program of shows.  During this time the art scene began to change radically.  More galleries opened, and curators began to take a more active role in developing spaces around town.  Galleries from overseas, which had been representing Chinese artists abroad, started to open spaces in Beijing.  Importantly, mainlanders were also starting to open spaces to cater to the growing interest from the Chinese public, who were starting to visit galleries and exhibitions, of which there were now plenty.  

北京798 / 大山子艺术区的开发，理所当然地成为过去几年中艺术领域发展的一支强效催化剂。2001年，正在四处寻找工作室的艺术家们发现了798厂，这是一个弃用了的位于大山子的军用电子工厂。诸多画廊接踵而至，咖啡厅、酒吧、餐厅与时装工作室紧随其后。大山子工厂是东德工程师上世纪50年代建设的包豪斯风格的建筑，强调实用功能，现在这些壮观的场所提供了一个理想的国际艺术中心的总部。这是一个蓬勃发展的区域，充满了活力与创新，我们很高兴成为其中的一部分，并于2005年12月在那里开设了798 / 红门画廊。

由于艺术场所设施的启用，国际兴趣的持续升温，以及艺术家们自身的巨大能量，整个艺术市场令人难以置信地发展起来，随着2008年北京奥运会的临近，看来更是充满机遇。

The development of the 798 / Dashanzi area has, of course, been one of the great catalysts for the development of the arts scene in the last few years.  In 2001, the de-commissioned military electronics factory No. 798 at Dashanzi was discovered by artists looking for studio spaces.  The galleries soon followed, with cafes, bars, restaurants and fashion studios hard on their heels.  The splendid factory spaces at Dashanzi, which had been built by East German architects in the Bauhaus style in the early 50s, now provide the headquarters for an international arts centre.  It is a thriving district, full of energy and creativity, and we are pleased to be part of it.  We opened the 798 / Red Gate Gallery in December 2005.

With this injection of infrastructure, the continuing international interest and the tremendous resource of the artists themselves, the whole market has grown incredibly and looks very promising in the lead-up to the Olympics. 

（未完待续……）

Memory Wall of New Age

21世纪的记忆墙

01

1998年 RETAKE展览 请柬 

策展人: Carolyn Fitzpatrick

02

2002年 中国当代八人版画展

策展人：殷双喜

03

2001年 Red Hot 火红，红火

策展人: 布朗·华莱士, 凯伦·史密斯, 奥美

04

2002年 Mask Vs. Face "面对脸"展

策展人: 张朝晖

05

2003年 In Their Sights 目光所及

策展人：皮力

06

2005年 The Quality of Materiality Experiment Ink and Wash 质性：实验水墨报告

策划人：张羽

07

2007 Traces and Temperament 2007 痕迹与气质 2007 实验水墨展

策展人：张羽

08

2007年 Open Door: Artists in Residence 开放 访问艺术家在北京

09

2006年 工作室在北皋地区的艺术家们自发组织的艺术活动

10

2005年 First Five Artists in Residence 红门画廊第一届访问艺术家联展

11

2006年 From China: Chinese Artists in Residence at Red Gate Gallery 中国访问艺术家联展

12

2005年 First Five Artists in Residence 红门画廊第一届访问艺术家联展

13

2006年 15th Anniversary - To the Watchtower 角楼15周年纪念

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更多记忆，请移步红门画廊
More memorys at Red Gate Gallery

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

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Images courtesy of Red Gate Gallery

Copyright Red Gate Gallery and the artists

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