上海多伦现代美术馆宣布成立新一届学术委员会

在建馆20周年之际，上海多伦现代美术馆非常荣幸地邀请：朱青生先生、张培力先生、顾铮先生、江梅女士、盛葳先生（以委员年龄为序）5位行业专家，共同组建新一届学术委员会。新一届学术委员会委员将为美术馆的事业发展提供专业指导和支持。

上海多伦现代美术馆由上海市虹口区文化和旅游局于2003年创建，是中国第一家按现代多功能目标规划建设的、为中国当代艺术发展服务的公立美术馆，是当代艺术国际化交流的平台。它以 " 原创性、学术性、国际性 " 为办馆理念，具有展览、研究、教育、收藏、交流五大功能。

上海多伦现代美术馆将持续通过艺术实践探索机构责任以及拓宽艺术的边界，美术馆将会在本届学术委员会专家们的指导与支持下展开各项工作，以更为饱满的专业热情打开更多开放的视野，激发出各种新的可能性，以艺术回应当下。

学术委员简历

朱青生

北京大学教授，德国考古学院通讯院士，上海外国语大学世界艺术史研究所所长。主持中国现代艺术档案（1986年起），主编《中国当代艺术年鉴》（2005年起每年一卷），策划“中国当代艺术年鉴展”（2016年起）。长期领导《汉画总录》编辑计划，已正式出版63卷（截止到2022年），主编《中国汉画研究》学刊。曾任国际艺术史学会主席期间（2016-2021），领导国际艺术史界联合建立全球图像链接系统，同时推进在世界艺术史研究理论与方法的总结与更新。著有《没有人是艺术家也没有人不是艺术家》、《十九札》等。

张培力

1957年11月生于杭州。1984年毕业于浙江美术学院（现中国美院）油画系，居住和工作于杭州。中国美术学院教授。

1985、86年组织参与“85新空间”展及“池社”活动。主要作品有《X?》系列、《30X30》、《水－辞海标准版》、《（卫）字3号》、《不确切的快感》、《遗言》、《阵风》、《碰撞的和声》等，《30X30》（1988）被艺术界认为是中国最早的录像艺术作品。强调艺术对于现实生活的关照和干预，强调艺术语言的批判和自我批判性。主要从事以录像、文字、声音装置、机械装置、摄影为媒介的艺术创作。

从事艺术教学工作三十余年，于2003年在中国美院建立新媒体系，开始了中国艺术院校中最早的新媒体艺术教育。

曾三次参加威尼斯双年展，及里昂双年展、悉尼双年展、光州双年展、釜山双年展等重要国际展事；曾在纽约现代艺术博物馆、芝加哥美术馆、比利时根特当代美术馆举办个展。

作品为纽约现代艺术博物馆、伦敦泰特现代美术馆、纽约古根海姆博物馆、阿布扎比古根海姆博物馆、法国蓬皮杜艺术中心、芝加哥艺术博物馆、比利时根特当代美术馆、纽约亚洲协会、新加坡国家美术馆，澳洲昆士兰美术馆、香港M+、福冈亚洲美术馆、法国造型艺术委员会、民生美术馆（上海）、德国戴姆勒艺术收藏、中国泰康收藏、法国DSL艺术收藏、香港K11艺术基金会、四方美术馆（中国南京）等国内外机构收藏。获AAC年度艺术家大奖，CCAA终身成就奖。

顾铮

复旦大学新闻学院教授，复旦大学信息与传播研究中心研究员，复旦大学视觉文化研究中心副主任。1998年毕业于日本大阪府立大学人类文化研究科比较文化研究专业，获学术博士学位。曾任第56届世界新闻摄影比赛终评评委。2017-18年度哈佛燕京访问学者。2019年德国海德堡大学第九届中国艺术史海因茨·葛策杰出客座教授（9th Heinz Götze DistinguishedVisiting Professor of Chinese Art History）。2020、2021、2022集美•阿尔勒国际摄影季艺术总监。曾获得中国摄影金像奖（理论评论）（2001年）及第一届沙飞摄影奖学术奖（2007）。著有多部专著，并在国内外策划多个当代摄影及艺术展览。

江梅

1971年出生于江苏宜兴。1996年毕业于南京艺术学院，美术学专业硕士。先后供职于上海美术馆、中华艺术宫、上海油画雕塑院。长期从事艺术策展和研究工作，主要方向为中国现当代艺术和女性艺术。多年来策划、组织了众多国内、国际艺术展览。现为上海油画雕塑院副院长兼院美术馆负责人。

盛葳

美术史博士，批评家，策展人，现任《美术》杂志编审、副主编，中国美协策展委员会副秘书长。曾获王森然美术史奖（2009）、Yishu中国当代艺术批评奖（2012），入选第二届中国美术奖理论评论奖（2014）、国家万人计划青年拔尖人才（2018）。出版有《历史的错位：让-弗朗索瓦·米勒研究》《后殖民理论视野下的中国当代艺术》等著作。近期发表论文包括《图像环路：视觉、文化与社会》《1942：战斗中国的艺术在美国》《女神的桂冠：唐一禾、鲁本斯与胜利寓言》《全球艺术史：观念、方法与实践》《写真：<大公报>中的摄影与绘画（1926-1937）》《牛犋变工队：马歇尔背后的画》《从“马训班”到“罗训班”：一段三国交织的艺术史（1955-1962）》等。近期策划展览包括“2022武汉双年展”（武汉美术馆）、“图像的旅行——版画、印刷与出版艺术文献展”（中国版画博物馆）、“移动的时代之眼——广州美术学院藏中华全国木刻协会作品展”（广州美术学院美术馆）、“流动的边界——全球在地的中国当代艺术”（湖南省美术馆）、“工作方法——艺术家的时间、空间与身体”（北京壹美美术馆）等。

On the occasion of the 20th anniversary of its establishment, Shanghai Duolun Museum of Modern Art is honoured to invite five experts, Mr. LaoZhu, Mr. Zhang Peili, Mr. Gu Zheng, Ms. Jiang Mei and Mr. Sheng Wei( In Order of Age ),to form the new Academic Committee of Shanghai Duolun Museum of Modern Art . The new members of the Academic Committee will provide professional guidance and support for the development of the museum's business.

Founded in 2003 by Shanghai Hongkou Culture and Tourism Bureau, Shanghai Duolun Museum of Modern Art is the first public art museum in China to be planned and built according to modern multi-functional objectives for the development and service of Chinese contemporary art, and is a platform for international exchange of contemporary art. It takes originality, academics and internationalism as its guideline, and seeks to fulfill five major functions of exhibition, research, education, collection and communication.

Shanghai Duolun Museum of Modern Art will continue to explore its institutional responsibilities and broaden the boundaries of art through its artistic practice. With the guidance and support of the current Academic Committee experts, Duolun museum will broaden its’ horizons with more professional enthusiasm, stimulate new possibilities and respond to the present with art in the process of artistic practice.

Resume of members of the Academic Committee

LaoZhu

Professor of Peking University/ Corresponding Member of the German Archaeological Institute/ Director of the Institute of World Art History, Shanghai International Studies University.

LaoZhu presides over Archives of modern Chinese Art(since 1986),edits Annual of Contemporary Art of China(One volume per year since 2005), and curates the exhibition of Annual of Contemporary Art of China(since 2016). He has led the editing plan of Han Painting General Record for a long time and has officially published 63 volumes( by 2022). He is also editor in chief of Chinese Painting Research journal. During his presidency of International Society for the History of Art( 2016-2021), LaoZhu led the international art historical community in the establishment of a global image linking system, as well as advanced the conception and renewal of theories and methods in the study of world art history. He wrote No Man is an Artist and No Man is not an Artist, Nineteen Notes,etc.

Zhang Peili

Born in Hangzhou, China in November in 1957. Zhang Peili graduated from the Department of Oil Painting at Zhejiang Academy of Fine Arts (now China Academy of Art) in 1984, where he is now a professor. Zhang currently lives and works in Hangzhou.

In 1985 and 1986, he organized and participated in the 85 New Space exhibition and artist collective Pond Society activities. His major works include Rest, X? series, 30x30, Water: Standard Version from Cihai Dictionary, Document on Hygiene No.3, Last Words, A Gust of Wind and Collision of Harmonies etc.. Among them, 30x30 (1988) was the earliest video artworks in China.

Zhang emphasizes the concern and invention for real life through art, and he also emphasizes the judgement of artistic language and self-criticism. Zhang is mainly engaged in works with the media in video, text, sound installation, mechanical installation and photography.

Zhang Peili has been engaged in art teaching for more than 30 years.  In 2003, he established the New Media Department at China Academy of Art and began the earliest new media art education in Chinese art colleges.

He participated in Venice Biennale three times, and also participated in La Biennale de Lyon, The Sydney Biennial, The Gwangju Biennial, Busan Biennale, etc.; Zhang has held solo exhibitions at renowned institutions such as Art Institute of Chicago, Museum of Modern Art New York, and S.M.A.K. in Ghent, Belgium.

His works have been collected by prominent institutions such as MoMA New York, Tate Modern , Guggenheim Museum New York, Guggenheim Museum Abu Dhabi, Centre Georges Pompidou, Art Institute of Chicago, Asia Society New York, Singapore Art Museum, Queensland Art Gallery Australia, M+ Hong Kong, Fukuoka Asian Art Museum, Centre National des Arts Plastiques, Minsheng Art Museum (Shanghai), Daimler Art Collection, DSL Collection, K11 Foundation (Hong Kong) and Sifang Art Museum (Nanjing).

Zhang Peili received the ACC annual artist award and CCAA lifetime achievement award.

Gu Zheng

Professor of School of Journalism, Fudan University/ Researcher of Information and Communication Research Center, Fudan University/ Deputy director of Visual Culture Research Center, Fudan University.

Graduated from the Department of Human Cultural Studies, Osaka Prefecture University in 1998, majoring in Comparative Cultural Studies, Gu received an academic doctorate degree. He was a member of the final jury of the 56th World Press Photo Contest and a 2017-18 Harvard Yenching Visiting Scholar, as well as Distinguished Visiting Professor of Chinese Art History of 9th Heinz Götze in 2019. Gu was Artistic Director of the Jimée-Arles International Photography Season from 2020 to 2022. He has received the Golden Image Award for Chinese Photography (Theory Review) (2001) and the First Shafei Photography Award Academic Prize (2007). He is the author of several monographs and has curated several contemporary photography and art exhibitions in China and abroad.

Jiang Mei

Born in Yixing, Jiangsu Province in 1971, Jiang Mei graduated M.A. from School of Fine Arts, Nanjing University of the Arts in 1996. She has worked at Shanghai Art Museum, China Art Museum ( formerly named Shanghai Art Museum), and Shanghai Oil Painting Sculpture Institute. She has long been engaged in art curation and research, with a focus on Chinese modern and contemporary art and women's art. Over the years, she has curated and organized numerous domestic and international art exhibitions. She is currently the Vice President of the Shanghai Oil Painting and Sculpture Institute and Head of its Art Museum.

Sheng Wei

Doctor of Fine Arts History/Critic/Curator Currently, Sheng Wei is the editorial reviewer and deputy editor-in-chief of magazine, Fine Art and deputy secretary general of Curatorial Committee of the Chinese Artists' Association. Sheng was awarded the Wang Senran Prize for Art History (2009) and the Yishu Prize for Chinese Contemporary Art Criticism (2012), and was selected for the Second China Art Award for Theory and Criticism (2014) and the National Ten Thousand People Plan for Young Talents (2018). He has published The Dislocation of History: A Study of Jean-François Miller, Contemporary Chinese Art in the Light of Postcolonial Theory, etc.. Sheng’s recent publications include Image Loop:Vision, Culture and Society, 1942:The Art of Fighting China in America, The Laurel of the Goddess: Tang Yihe, Rubens and the Fable of Victory, Global Art History: Concepts, Methods and Practices, Portraits: Photography and Painting in the Ta Kung Pao(1926-1937), The Changing Workforce: The Painting behind Marshall, From "Ma Training Class" to "Luo Training Class": An Art History of the Interweaving of the Three Kingdoms (1955-1962),etc.. Sheng’s recent curated exhibitions include 2022 Wuhan Biennale (Wuhan Art Museum), The Journey of Image-Printmaking, Printing and Publishing Art Documentary Exhibition( China Printmaking Museum), Period Eye in Movement-Wood Engraving from Chinese Woodcut Association Collected by Guangzhou Academy of Fine Arts (Art Museum of Guangzhou Academy of Fine Arts), Flow Boundary-Globally Localized Chinese Contemporary Art( Hunan Art Museum), Ways of Working-Artists’ Time, Space and Body(One Art Museum, Beijing),etc.

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