知名批评家王南溟获任喜玛拉雅美术馆馆长 组建艺术博物馆领域顶级学术委员会

上海喜玛拉雅美术馆正式宣布，王南溟被任命为新一任上海喜玛拉雅美术馆馆长，全面负责喜玛拉雅美术馆的运营与管理。同时，李龙雨馆长离任，但仍将负责上海喜玛拉雅美术馆的“上海种子”展览至7月底。

上海喜玛拉雅美术馆由著名建筑师矶琦新设计，前身为创建于2005年的上海证大现代艺术馆（Zendai MOMA），是证大集团董事长戴志康对社会的文化回馈。创立十多年来，美术馆在当代的社会语境下以开放的姿态和前瞻性的视野探索新模式，重视学术梳理、尝试打通学科壁垒、努力连接当代与传统、推进国际文化艺术交流，致力成为提升专业、走向公众的新型美术馆。

-  上海喜玛拉雅美术馆  -

从2015年3月起，李龙雨馆长在任喜玛拉雅美术馆馆长的两年间，完成了“上海种子”的第一章、第二章等项目，在全球范围内的艺术、文化领域以及大量的媒体上引发了众多的讨论。

在2017年5月9日上海喜玛拉雅美术馆馆长工作移交会议上，李龙雨说：“王南溟以顾问的身份为上海喜玛拉雅美术馆服务了十多年，也参与了很多相关的项目，他了解美术馆的方向和定位，也了解其组织架构和团队。正如上海喜玛拉雅美术馆在过去十余年间的努力和对于艺术介入社会与艺术跨学科的相关展览与评论，我衷心地希望新馆长可以为公众呈现更多好的项目。”王南溟表示：“非常感谢李龙雨馆长两年来的付出。上海喜玛拉雅美术馆一直都以多元化、跨学科、艺术介入社会、公众参与等思考为重要的努力方向，李龙雨馆长在任期间的“上海种子”项目使得的这样的美术馆传统得到了进一步的推广。” 

作为多重身份的王南溟，在今后的美术馆工作中会有新的管理系统来建构美术馆的方向，其中包括：

1

重新讨论当代艺术与传统艺术之间的思想脉络，对艺术史中的一些话题进行再研究。

2

实施“青年思想者驻馆计划”，让新一代人群发起自己的思考。

3

强化美术馆的公共教育职能，建立和各学院之间的合作以及跨界和对话。

4

把美术馆还原到公共服务机构，取消馆内策展人岗位。通过外聘策展人和专家，组织更多的原创展和学术论坛。

关于馆长：

王南溟，上海独立策展人、艺术家，同时被称为中国当下艺术批评界最具批判力的批评家，从“前卫艺术”、“后前卫艺术”到“更前卫艺术”（Metavant-garde）的阐释者和推动者。

1990年代晚期参与香港艺术公社和中国的艺术家工作室的建设和管理并组织展览，在2007-2009年间，担任《美术焦点》、《艺术时代》杂志的总编，主导艺术批评的方向，带动了各种话题的争论。也担任过四川美术学院“艺术制度与法律”专业方向硕士研究生导师，为美术学院建立了新的学科方向，培养了新一代的批评家。

王南溟通过展览不断打破艺术边界和为有争议的艺术作品辩护，使得艺术展览不再仅是审美的，而美术馆也成为了讨论社会问题的场所。近年来，他的批评都以2000年以来中国当代艺术中极有争议的行为艺术、装置和摄影作品为例，解释中国当代艺术是如何从审美转到社会政治批评及中国当代艺术如何在世界范围内提供出自己对艺术的理解。

已出版的批评文集有：

《理解现代书法：书法向现代和前卫的艺术转型》，江苏教育出版社，1994年。

《艺术必须死亡：从中国画到现代水墨画》，上海书画出版社，2006年。

《观念之后：艺术与批评》，湖南美术出版社，2006年。

《批评性艺术的兴起：中国问题情境与自由社会理论》，古桥出版社，2011年。

《现代艺术与前卫：克莱门特·格林伯格批评理论的接口》，上海大学出版社，2012年。

《艺术制度与法律：中国与国际交往的结果》，古桥出版社，2012年。

《后殖民荣誉：艺术的中国性与艺术家的中国身份 》，古桥出版社，2012年。

《书法的障碍：新古典主义书法、流行书风及现代书法诸问题》，上海大学出版社，2013年。

主要作品有：

《字球组合》、《拓印干旱》、《太湖水》等，作品被大英博物馆、梁洁华基金会、中国美术馆等收藏。

Wang Nanming Appointed as New Director 

at Shanghai Himalayas Museum

Shanghai Himalayas Museum officially appoints Wang Nanming as new director of the museum. He will take on museum’s operation and administrative management. Yongwoo Lee, formal museum director, has stepped down from the position, while he will continue to take his part in Shanghai project till the end of July. 

Shanghai Himalayas Museum, formerly known as the Zendai MOMA founded in 2005, is designed by the famous architect Arata Isozaki. It is the founder and chairman of Zendai Group, Mr Dai Zhikang’s cultural repay to the society. Since its establishment more than ten years ago, the museum has explored new patterns for museums in the context of contemporary society using an open pose and a forward-looking vision; it has attached great importance to academic organizing; it has tried to break the boundary between different disciplines and to link the contemporary and the tradition; and it has promoted global cultural and art communication. It is trying to become a new museum close to the public and elevated knowledge.

Since March 2015, Yongwoo Lee’s has executed various projects including Chapter I and Chapter II of Shanghai Project during his two-year directorship, evoking discussions and in global art and cultural field.

On May 9th 2017, the official directorship transition meeting has been held in Shanghai Himalayas Museum. “Wang Nanming has been serving the museum as a consultant for ten years, and has participated in numerous significant museum programs. He deeply fathoms museum’s vision and direction, as well as the internal structure and its staff. With over 10 years’ dedication to the museum, and with the endeavor of promoting social interactive art, multi-disciplinary exhibiting and critiquing, I sincerely wish there will be more wonderful projects to the public under the leadership of the new director Wang Nanming.” Said Yongwoo Lee.  

“I’d like to thank formal director Yongwoo Lee for serving the museum over the past two years. Shanghai Himalayas Museum has been known for its diversity, inter-discipline, social art intervention, and public interaction as its core values. Shanghai Project, under Lee, has been carrying museum’s mission and has developed it to the next level.”said Wang Nanming.

Wang Nanming, as a multidisciplinary figure, determines to employ brand-new operational plans to construct museums’ future directions:

1.     Re-examining the ideological schemes between the contemporary art and the traditional art.

2.     Initiating “Young Thinker Residency Project” to inspire new generations in terms of sparkling forces of critical thinking of themselves.

3.     Strengthening museum’s public education, building collaborations with colleges and generating cross-field dialogues.

4.     Stressing museum’s role in public serving sector, abolishing museum curator position and opening to exterior curators and experts, constituting more original exhibitions and academic forums.

About Director

Wang Nanming, Independent curator and artist in Shanghai, also regarded as one of the most influential critic in the field of Chinese contemporary art. He is the elucidator and advocator of the Avant-garde, post-avant-garde and Metavant-garde.

In the late 1990s, Wang has actively taken part in HK Commune and Chinese artists’ studios’ constructing, managing and exhibition making. During 2007- 2009, he has been chief editor for the art magazine “Art Focus” and “Art Time”, leading directions of art criticism and evoking various provocative discussions. He has also been professor in “Art System and Law” at the Sichuan Fine Arts Institute, establishing new subject disciplines for the institute, cultivating young generation of critics.

Breaking artistic boundaries and advocating art of controversy, Wang Nanming extends the definition of an exhibition from a pure aesthetic dimension to a social-interactive level, and transforms the museum space into a forum of heated discussion over social issues. In recent years, his critique has focused primarily on the most provocative and contentious performance art, installation and photography since the beginning of the year 2000, through which he elaborates on the shift of contemporary art in China from the manifestation of aesthetics to sociopolitical commentaries, and the commitment to reinforce a precise understanding of Chinese contemporary art across the globe.

Wang Nanming has authored several books including “Understanding Modern Calligraphy: Artistic Transformation of Modern and Avant-garde”; “Art Must Die: from Chinese Painting to Modern Ink Painting”; “After Concept: Art and Criticism”; “The Rise of Critical Art: Chinese Problem Situations and Theories of Liberal Society”; “Modern Art and Avant-garde: Interface of Clement Greenberg’s Critical Theory”; “Art, System and Legislation: China's International Exchange”; and “A Post-colonial Honour: the Chinese-ness of Art and the Chinese identity of Artists” and “Obstacles of Calligraphy: Neo-classical Calligraphy, Popular Calligraphic Style, Modern Calligraphy and other Issues”.

His major works include “Calligraphy Balls”, “Tayin Drought and Tahui Lake”, which were collected by The British Museum, Annie Wong Art Foundation and National Art Museum of China.

上海喜玛拉雅美术馆馆长王南溟非常荣幸地邀请：鲍昆、车生泉、段煜婷、范迪安、顾铮、何小青、孔祥东、李翔宁、渠敬东、孙惠柱、孙向晨、王林、吴亮、朱大可、朱青生 （按姓氏首字母排列）15位各领域专家学者, 组建新一届“上海喜玛拉雅美术馆学术委员会”。

自2016年底上海喜玛拉雅美术馆与北京大学人文社会科学研究院合作举办“山水社会：一般理论及相关话题”以来，与相关高校、机构和专家的合作已成为喜玛拉雅美术馆发展建设的重要方向。喜玛拉雅美术馆在过去十余年间的历程中及前几任馆长的持续努力下，已经使美术馆成为非常活跃的思想交流空间。在当代艺术无边界时期，相信在此届学术委员会专家们的支持下，喜玛拉雅美术馆将汲取更多学科的力量，激发出各种新的可能性。

New Academic Committee of Shanghai Himalayas Museum is Formed

Shanghai Himalayas Museum is pleased to announce the list of members of Shanghai Himalayas Academic Committee: Bao kun, Che Shengquan, Duan Yuting, Fan Di'an, Gu Zheng, He Xiaoqing, Kong Xiangdong, Li Xiangning, Qu Jingdong, Sun Huizhu, Sun Xiangchen, Wang Lin, Wu Liang, Zhu Dake, Zhu Qingsheng. (listed as alphabetical order)

Ever since the conference “Humanistic Nature and Society: General Theory and Related Topics”, Co-organized by Shanghai Himalayas Museum and Institute of Humanistic and Social Science department of Peking University, has been held at the end of year 2016, strengthening collaborations with colleges, institutions, and generating dialogues among cross-field experts becomes primary focus in museum’s future development. Throughout more than ten years and with the endeavor of previous directors, Himalayas Museum has been known for being an active platform that holds up interactive ideas and multi-dimensional communications. With the support of committee, the museum will generate more possibilities with the force of interdisciplinary.

鲍昆  Bao kun

艺术评论家、策展人

Art critic, Curator

车生泉  Che Shengquan  

上海交通大学农业与生物学院副院长、教授，博士生导师，保加利亚中心执行主任

Professor,  Ph.D, Vice Dean, School of Agriculture and Biology, Executive director of Bulgarian Center, Shanghai Jiao Tong University

段煜婷  Duan Yuting    

连州国际摄影节创始人兼总监

Founding director of Lianzhou International Photography Festival

范迪安  Fan Di’an 

中央美术学院院长、教授，博士生导师

Director, professor, Ph.D supervisor of Central Academy of Fine Arts

顾铮  Gu Zheng     

复旦大学视觉文化研究中心副主任、摄影评论家

复旦大学新闻学院广告学系主任、博士生导师

Director of Visual Culture Research Center, Fudan University, Director of Department of Advertising, Fudan Journalism School, Fudan University, Photography critic

何小青  He Xiaoqing  

上海大学上海电影学院执行院长, 教授、博士生导师

Executive director, professor, Ph.D supervisor of  School of Film and TV Art &  Technology, Shanghai University

孔祥东  Kong Xiangdong 

钢琴家

Pianist

李翔宁  Li Xiangning   

同济大学建筑与城市规划学院副院长、教授、博士生导师，建筑评论家、策展人

Curator Executive Deputy Director of Institute of Humanistic and Social Sciences，Professor in Department of Sociology， Peking University, Sociologist

渠敬东  Qu Jingdong  

北京大学人文社会科学研究院常务副院长，北京大学社会学系教授、博士生导师，社会学家 

Executive Deputy Director of Institute of Humanistic and Social Sciences, Professor in Department of Sociology, Peking University, Sociologist

孙惠柱  Sun Huizhu 

上海戏剧学院教授、博士生导师，剧作家、导演

Professor, Ph.D supervisor of Shanghai Theatre Academy, Playwright, Director

孙向晨  Sun Xiangchen 

复旦大学哲学学院院长、教授、博士生导师

Director, professor, Ph.D supervisor of School of Philosophy, Fudan University

王林  Wang Lin 

四川美术学院教授、西安美术学院博士生导师, 策展人、批评家

Professor of Sichuan Fine Arts Institute, Ph.D supervisor of Xi'an Academy of Fine Arts, Curator, Critic

吴亮  Wu Liang     

《上海文化》主编，文化批评家

Chief Editor of Shanghai Culture magazine, Cultural critic

朱大可  Zhu Dake 

同济大学文化批评研究所教授、博士生导师，文化批评家

Professor, Ph.D supervisor of Institute of cultural criticism, Tongji University, Cultural critic

朱青生  Zhu Qingsheng 

北京大学历史学系教授、博士生导师，国际艺术史学会主席

Professor, Ph.D supervisor of Department of history, Peking University, Chairman of the International Society for the History of Art

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朱青生：呼吁奔走20多年  现在是建立世界艺术博物馆的好时机

“先建立观念和收藏，再建馆。不要盲目和国外比，中国有自己的路，现在只要下一个决断。”北京大学历史系教授、艺术史专家朱青生说。为了建立世界艺术博物馆，他已经呼吁奔走了20多年。

　　朱青生解释，从词源来说，英语museum一词源于供奉缪斯（muses）的神殿。缪斯是文学、艺术和科学精神的象征，博物馆就是“美之所在”。“但中文没把这个意思译出来，结果中国的博物馆都成了历史和考古的展示厅。”朱青生说，“其实卢浮宫就是法国的国家博物馆，艾尔米塔什是俄罗斯的国博，现在却被中国看做‘美术馆’。所以‘世界艺术博物馆’的定义是‘世界的视觉与图像’，一切人类保存下来诉诸视觉和感觉的场景和物品，今天都是艺术。”

　　在朱青生看来，建立世界艺术博物馆有三个目的：一是教育民众，二是表明中国对世界文明的态度并作出解释，三是对人类的未来进行设计。

　　朱青生认为，现在正是一个建立世界艺术博物馆的好时机，原因有三：

　　其一，全世界艺术史专家有意愿协助中国。2016年9月15日，第34届世界艺术史大会在中国北京举行。这个每四年一届、有“艺术界的奥林匹克”之称的盛会，从1873年以来第一次在西方之外的国家召开。“这些专家都知道中国需要一个世界艺术博物馆，不同程度地表示愿意、甚至可以作为志愿者，帮助中国通过各种渠道收集藏品。”朱青生说。

　　其二，国家有能力、民间人士有意愿购买外国艺术品。一方面，出于文化建设和公民教育、特别是少年儿童教育的需要，建立世界艺术博物馆应该作为国家的项目来做；另一方面，现在有不少民间人士有购买外国艺术品的能力和意愿。

　　其三，中国在迈向世界大国的发展过程中，需要重新解释世界。“中国是一个大国，需要一个新的理念——向‘世界’展示‘世界’。在中国不仅要能看到中国，还要让人看到中国对世界的解释。建立一个世界艺术博物馆，展现在文明差异中如何实现和谐共处，这既要有长远计划，又要有现实操作。”朱青生一再强调：“建立世界艺术博物馆主要不是建房子，而是建立对世界文化的态度，对人类文明整体的观念，具体的，就是建立艺术品和相关环境的收藏。”

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