APSMUSEUM论坛回顾 | 安尼施·卡普尔的幻象空间以及与建筑、公共空间的关系

APSMUSEUM空间外景

“安尼施·卡普尔的幻象空间”论坛现场

作为2021年APSMUSEUM的首场论坛，我们荣幸地邀请到艺术评论家及策展人、OCAT西安美术馆执行馆长、上海摄影艺术中心策展人凯伦·史密斯，南京四方当代美术馆创始人及馆长陆寻，里森画廊上海总监董道兹，建筑师、丹尼尔·斯坦森建筑事务所创始人丹尼尔·斯坦森，一起探讨了艺术家安尼施·卡普尔的作品以及它们与建筑和公共空间的关系。

For the opening forum of the year 2021, APSMUSEUM was honored to invite Ms. Karen Smith, art critic and curator, Executive Director of OCAT Xi’an, Curator-at-Large at SCOP; Mr. Lu Xun, Founder and Director of Sifang Art Museum in Nanjing; Mr. David Tung, Director of Lisson Gallery, Shanghai; and Mr. Daniel Statham, Founder of the Daniel Statham Studio. The discussion focused on the artworks of artist Anish Kapoor, and how they relate to art, architecture, and public space. 

凯伦·史密斯作为论坛的主持人，首先为我们介绍了关于公共艺术的背景，“公共艺术是什么？谁来做？为谁做？”；丹尼尔·斯坦森分享了他在伦敦、上海、杭州等地的建筑项目，以及他与艺术家合作的艺术和建筑项目；从2006年开始，陆寻邀请了24位中西方的建筑师为四方艺术湖区规划并委托制作了24座建筑，并在此次论坛中详细介绍了南京四方当代美术馆是如何将艺术和建筑进行结合的；董道兹自2016年加入里森画廊，与艺术家安尼施·卡普尔合作了多个项目，比如筹备三年之久的安尼施·卡普尔中国大展，在论坛最后，他为我们梳理了卡普尔的艺术线索，以及他的大体量公共艺术作品的形成过程。

As the forum host, Karen started the discussion by setting a context for us on art and public space. Daniel shared his experience of working on several projects in London, Shanghai, and Hangzhou, as well as his collaboration with artists on art and architectural projects. Since 2006, Lu Xun had been working with 24 architects and commissioned 24 architectural works around the Sifang lake zone. He also talked about the transitions that he went through at different stages. David joined Lisson Gallery in 2016 and had worked with Anish Kapoor on many critical projects, including the artist’s major exhibition in China which took 3 years for preparation. Towards the end of the discussion, David elaborated on several of Kapoor’s major works, and how the artist transformed and created those colossal public art projects that we see today. 

以下我们整理了四位嘉宾在论坛中谈到的精选内容。

We have selected some highlighted content from the forum. 

论坛完整版视频可以长按下方二维码跳转观看。

To watch the complete video of the forum, press on the QR code.

凯伦·史密斯 

Karen Smith

公共艺术是什么?
What is “public art”?
谁来做? Who decides?为谁做? Who is it for?

安东尼·葛姆雷(Antony Gormley)，《北方天使》(The Angel of the North)，1998

公共艺术作品分为永久性、临时性，以及定制等多种形态。很多艺术家会根据特定场域的地理位置和自然条件进行创作。比如安东尼·葛姆雷的作品《北方天使》，他将作品放置在一块空地中。像伦敦市中心特拉法加广场“第四基座”公共艺术项目中的当代艺术作品，就与很多历史建筑、雕塑进行结合，并关联延伸出新的象征意义：从前的纪念碑是为了纪念某个人或者历史事件，而如今的概念发生了变化，形成了某种对比和冲突。还有一些公共艺术作品会邀请人们与之产生互动，比如英国泰特现代美术馆就做过很多类似的项目，带有一些娱乐性。

There’s a variety of public art: some of them are permanent, others temporary, and a number of them are built specifically for the site. When an artist creates a piece of public art, he or she has to take the physical location as well as the natural landscape into account. For example, Angel of the North, a famous work by prominent British artist, Antony Gormley, is designed to be positioned at an open space. The Fourth Plinth, which is the northwest plinth in Trafalgar Square in London, has been a controversial piece since its accomplishment because of the juxtaposition of the contemporary and the traditional. In other words, the surrounding landscape beside the Fourth Plinth consists largely of historical monuments and architecture, which were built for commemoration of famous historical figures or events. The existence of contemporary public artworks beside those traditional monuments evokes contrasts and conflicts. Moreover,  some public art of the day invites people’s interaction and participation. For instance, Tate Modern installed a number of such kind of art pieces. 

特拉法加广场“第四基座”公共艺术项目，作品分别为：

迈克尔·爱尔葛林&英加尔·德拉葛赛特(Elmgreen & Dragset)，Powerless Structures, Fig 101，2012

汉斯·哈克(Hans Haacke)，Gift Horse，2015

凯塔琳娜·弗里奇(Katharina Fritsch)，Hahn/Cock，2013

丹尼尔·斯坦森 

Daniel Statham

艺术带来的灵感，

Inspiration of Art,

如何实现艺术，

Realisation of Art,

让环境变成艺术。

Our Built Environment as Art.

艺术带来的灵感

Inspiration of Art

我以三件作品为例，来介绍通过艺术所带来的灵感。第一件是安尼施·卡普尔的作品TARANTANTARA，他以巧妙的手法对一个已经存在的建筑空间进行改造，进而去改变观众的观感。第二件作品是我们与马克·奎因的合作，这是位于威尼斯的一个项目，它让一个原本不存在的物体“侵入”到特定的环境当中。第三件作品是一座天桥，连接了帕丁顿火车站和新帕丁顿盆地开发区，同时它也是一个交互性的装置，我们在原有的场景中与艺术家Langlands＆Bell和Atelier One进行合作，但这离不开与行人的互动。

I will take three works as instances to introduce how art gave me inspiration. The first one is a work by Anish Kapoor, TARANTANTARA. The work transformed the internal structure of the original building, thus changing our perception of the interior. The second work was our collaboration with artist Marc Quinn in Venice. It is an object which “intrudes” the existing landscape, leaving the audience to judge if it is a great piece of art or not. The third one is a bridge which connected the Paddington Station and the new development zone in the Paddington Basin. People’s interaction is an essential part of this work, and we collaborated with artists Langlands＆Bell and Atelier One on this work.

左起：安尼施·卡普尔的TARANTANTARA；与艺术家马克·奎因的合作项目；连接帕丁顿火车站和新帕丁顿盆地开发区的互动性装置

如何实现艺术

Realisation of Art

往往，很多艺术家的想法是需要通过复杂的过程进行实现，比如安尼施·卡普尔的《云门》是在加州的奥克兰完成制作，然后运到芝加哥进行组装，再经过长时间的打磨，最终才变得如此精美。

Oftentimes, it takes a long time and extremely complex process for a concept to be realised into an actual piece. For example, the Cloud Gate by Anish Kapoor was pre-assembled in Oakland, California. It was then transferred to Chicago and installed onsite. After months of polishing, it finally became the beautiful work that we see today. 

安尼施·卡普尔(Anish Kapoor) 《云门》(Cloud Gate)的制作安装

让环境变成艺术

Our Built Environment as Art

可以说，安尼施·卡普尔的作品充分传达了“让环境变成艺术”这一概念，艺术挑战了科技，科技又提供了艺术灵感。比如像“杭州CBD未来公园”项目，它在功能上是一个停车场，但其中也设置了展览空间，它本身就是一件艺术品。这件作品与当地的城市景观紧密地融合在一起。

The artworks by Anish Kapoor embody the idea of “Our Built Environment as Art”. On the one hand, the art challenges the technology; on the other hand, the technology inspires the art. For instance, this project located in Hangzhou CBD functions as a parking lot, while it also includes exhibition space inside. The architecture itself is an artwork, an artwork that blends in with the surrounding environment. 

杭州CBD未来公园

作为建筑师，我们的思考方式与艺术家很相似，我们都需要灵感，也知道自己想要表达什么。艺术的灵感对我们的创作是至关重要的，它包容了建筑、设计、时尚等等，这一切都是与艺术相关联的。

As architects, we think like artists in many ways. We need inspiration and an idea of what we are going to realise. Art as an inspiration is very important to me, and it includes architecture, design, fashion, etc. 

陆 寻

Lu Xun

四方艺术湖区：

Sifang Art Lake Zone:

一片不断实验、变化、发展的空间能量场。

An Energy Field of Experimentation, Transformation, and Development.

四方当代美术馆是2013年开馆，当大家真正去到四方艺术湖区才会发现这里不止有一个建筑。四方艺术湖区一共700亩地，位于老山优美的自然环境中。我们从2006年开始陆续邀请了24位中西方的建筑师，让每位建筑师在这里设计一座建筑。随着时间的变化，我对它们的思考也在发生着改变。现在我去看这些建筑，它们更多像是公共艺术。

Sifang Art Museum was opened back in 2013. Some people did not know that it included more than one architectural project until they visited the site. It locates in the beautiful natural landscape of Lao Shan Mountain and occupies 700 acres. Since 2006, we invited 24 architects all over the world, each of them built their own architectural projects around the lake. We have gone through multiple transitions and rethink about these projects all the time. They seem more like public artworks to me when I look at them now. 

四方艺术湖区

我们邀请了很多有名的建筑师：四方当代美术馆是由斯蒂芬·霍尔设计；四方艺术湖区的“孟菲斯楼”由埃托奥·索德萨斯设计；矶崎新设计了会议中心；王澍设计了“三合宅”；妹岛和世&西泽立卫设计了“流动空间”等等。

We invited many renowned architects. For example, the museum itself was designed by Steven Holl.  The recreational center within the complex was designed by famed Italian architect, Ettore Sottsass, and his architectural practice, Sottsass Associati. The architect of the conference center was Arata Isozaki; Wang Shu designed the Chinese courtyard “San He Courtyard”; Kazuyo Sejima and Ryue Nishizawa also have their project in Sifang. 

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从2013年美术馆开馆，除了美术馆内部每年的两到三个展览之外，我一直在思考如何让人居空间变得更有趣，所以当时希望用公共艺术去串联已有的建筑。比如第一个展览邀请艺术家徐震创作了《运动场》，艺术家用地图的方式把历史上所有著名的民族运动做成了纪念碑的概念。日本艺术家曾根裕创作了《雪豹花园》，他用特别永恒的、纯洁的大理石材料凝固了一个非常美好的瞬间。

Besides having two or three exhibitions at the museum each year, I have been thinking about how to make the living space more interesting, and this is when I thought about using public art to respond to the architecture. For the first exhibition, we invited artist Xu Zhen to create Sports Field. The artist utilized the map and created a monument that included all the famous national sports in human history. Japanese artist, Sone Yutaka created Obsidian in Sifang, and solidified a beautiful moment using pure marble material which stands for eternity. 

徐震(Xu Zhen)，《运动场》(Sports Field)

曾根裕(Sone Yutaka)，《雪豹花园》(Obsidian)

我会把我的一些收藏摆在园区中。比如傅丹的作品《我们人民》、舒畅的作品《不可见》。我们也经常做艺术家的驻留项目，很多园区里的房子都会有艺术家的临时驻留。在四方当代美术馆的展览中，委任作品经常在展览主题中扮演着重要的⻆色，比如何岸的《风轻似小偷》，加布里埃尔·莱斯特的《大爆炸》，还有王卫的《山中的自然史4》 ，于吉的《练习曲-慢板 乐章III》，刘韡的《暗物质》等等。

I also place my own collection in the art zone, such as Our People by Danh Vo, and Invisible by Shu Chang. We also have Artists in Residence programs and provide space for artists to stay and work in our space. Among the exhibitions of Sifang Art Museum, commissioned works play an important role, such as Wind Light as a Thief by He An, Big Bang Pang by Gabriel Lester, Natural History 4 in Mountains by Wang Wei, Etude-Adagio, Chapter III by Yu Ji, Dark Material by Liu Wei, etc. 

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傅丹( Danh Vo)，《我们人民》(Our People)

舒畅(Shu Chang)，《不可见》(Invisible)

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公共艺术在四方更像是一个合作、共同创作的过程，它没有一个特别明显的商业意图。这些公共项目跟自然的关系更加密切，区别于城市里的公共艺术。   

We collaborate and co-work with artists on public art projects. They do not have an obvious commercial intent, which makes the works more resonant with the nature. I think this is how our projects differentiate from the ones installed in concrete jungles. 

董道兹

David Tung

令卡普尔着迷的是冲突与对比。
The Duality：Kappor’s Fascination.

安尼施·卡普尔 (Anish Kapoor)，《1000个名字》(A Thousand Names) ，1979-1980 ，色粉、综合材料，尺寸可变

在卡普尔早期用明亮色粉覆盖的雕塑作品中，我们能看到很多建筑的元素，比如图形，结构，拱形的顶。1990年后期卡普尔开始创作一些大规模的作品。2002年，卡普尔为英国泰特现代美术馆涡轮大厅创作的作品《马西亚斯》标志着作品从小型向大型的转变，这件作品也是他真正意义上与建筑的融合。

In the early works of Anish Kapoor, which the artist made with colored pigments, we can see many architectural elements, such as their geometrical forms, and dome-shaped structure. After the 1990s, Kapoor started to make relatively large-scaled artworks. The Marsyas that the artist created for the Tate Turbine Hall in 2002 marked his transition from smaller-scaled works to colossal ones that now we frequently relate to architecture. 

安尼施·卡普尔(Anish Kapoor)，《马西亚斯》(Marsyas)，2002-2003

2019年卡普尔在北京太庙的展览，花费了3年时间筹备。太庙是一座非常古老的建筑，它有着独特的历史意义，而当艺术家庞大的作品放置在太庙中时几乎有种隐形的错觉，这也是卡普尔与一座陌生建筑相融合的方式。而同样是历史建筑，在2020年英国霍顿庄园展出的作品中，卡普尔则选用了明艳色彩的镜面系列。镜面系列是卡普尔很重要的作品，在这系列作品中卡普尔表达了“两面性”的概念。

The 2019 exhibition at Tai Miao (The Ancestral Temple) in Beijing took 3 years for preparation. The temple is an ancient architecture and has its historical significance. Compared to many Western architecture, the artist was less familiar with Chinese traditional buildings, and this is the reason why his works, even though enormous in size and weight, seemed almost invisible at the site. On the other hand, when the artist made works for the Houghton Hall in the U.K.，he chose mirrors in bright colors, another important series of works by the artist. The mirrors are important to the artist；to some extent, the mirrors stand for “duality”.

安尼施·卡普尔(Anish Kapoor) ，《梯级》(Stave)， 2013 不锈钢材质，2019年展于太庙，北京

霍顿庄园(Houghton Hall)展览现场，安尼施·卡普尔(Anish Kapoor) ，2020

卡普尔的作品中还有很多的两面性，比如物质与非物质，黑暗与明亮，女性和男性，秩序与非秩序性等等，冲突与对比令他着迷。

Kapoor is fascinated with the concept of duality, such as material and non-material, dark and bright, female and male, order and disorder, etc. 

我们在卡普尔公共艺术方面的实践中可以看到，他的作品中不仅有公共艺术的特性，还有本身所带有的故事和意义，这些都是在理解他的作品中不可或缺的部分。比如作品《肢解圣女贞德》，卡普尔用红色的材质表现了贞德这位法国女英雄的躯干。 

Kapoor public artworks have their own narratives and meaning, which is essential to understand his art. For example, in the Dismemberment of Jeanne d’Arc, Kapoor utilized red material to represent the body of the French heroine. 

安尼施·卡普尔(Anish Kapoor) ，《肢解圣女贞德》(Dismemberment of Jeanne d’Arc)，2009

1990年，卡普尔代表英国参加威尼斯双年展，展出了作品《空无之地》。在当时也是富有争议的，因为当时卡普尔还是印度公民。现在我们去思考这件事情的时候似乎已经不是问题，但在当时还是争议性非常强的。当然，参与威尼斯双年展无疑将卡普尔及他的作品带到了一个更加国际的舞台上。在2021年卡普尔将在威尼斯做一场展览，呈现他在众多材料方面的实验，这也将会和他在1990年威尼斯双年展中展出的《空无之地》产生呼应。

In 1990, Kapoor represented the U.K. in the Venice Biennale and exhibited the work Void Field. Though it might not seem controversial today as we all know that Kapoor is a prominent British artist, it caused a sensation because Kapoor was an Indian citizen at the moment. However, this opportunity undoubtedly brought the artist to the international stage and raised his profile. In 2021, the artist will have another exhibition in Venice and will present his experimentation with material—the exhibition is also intended to echo with the critical exhibition he had in Venice 30 years ago. 

安尼施·卡普尔(Anish Kapoor) ，《空无之地》(Void Field)，1989

论 坛 主 持 人

    Forum Host

凯伦·史密斯 

Karen Smith

凯伦·史密斯是一位英国驻华艺术评论家及策展人。作为中国当代艺术重要的国际推介者，凯伦从1992年定居中国以来一直致力于中国当代艺术的研究。她对中国当代艺术不同时期发展状态的客观呈现，为中国当代艺术家撰写的专著，以及在国内国际专业刊物上发表的大量文章都已成为国际社会了解中国当代艺术的重要渠道，包括2008年出版的《九人传：新中国先锋艺术的诞生》，2012年开始的 《发光体：亲历中国当代艺术现场》系列书籍。2013年，凯伦接受德国Taschen出版社的邀请，担任《Art Now Volume 4》中国部分的作者。 

2005年，凯伦成为OCAT深圳馆的学术顾问，并于2012年被任命为OCAT西安馆的执行馆长。2015年上海摄影艺术中心创办之后，凯伦担任主策展人一职，为中心策划了众多高质量的摄影展览。

Karen Smith is a British national, specialized in the field of contemporary Chinese art. Her main activities are research, writing and curating. In mid-2012, she was appointed founding director of OCAT Xi’an, a contemporary art museum that is part of the OCAT Museum Group founded in Shenzhen in 2005. OCAT Xi’an opened in November 2013. Since 2015, she has also worked as artistic director of Shanghai Center of Photography. 

Smith’s writings can be found in numerous monologues and exhibition catalogues. She has contributed texts to Art Now Volume 4, Taschen, June 2013; Vitamin D2, Phaidon, 2012; Vitamin P2, Phaidon, 2011 and numerous other publications, including the Phaidon contemporary artist series, for which she authored the volume on Ai Weiwei (2009). She has produced her won books: Nine Lives: The Birth of Avant-Garde Art in New China (2008) and the series As Seen; Notable Artworks by Chinese Artists (2011; 2013; 2015). 

论 坛 嘉 宾

Guest Speakers

陆 寻Lu Xun陆寻目前生活工作于中国南京、上海。当代艺术藏家、南京四方当代美术馆创始人及馆长。2013年创立四方当代美术馆新馆。他与艺术家、建筑师等紧密合作，委托设计完成了四方当代艺术湖区内40余件建筑、艺术作品。他被artnet网站评为“世界百位艺术收藏家”，同时也是英国泰特现代美术馆收藏委员会、复星艺术中心咨询委员会、巴塞尔艺术展全球赞助人委员会委员及英国德尔菲那基金会亚太委员会的创始成员之一。Lu Xun lives and works between Nanjing and Shanghai, China. He is a collector of contemporary Chinese and international art. In 2013, he founded the Sifang Art Museum designed by the renowned American architect Steven Holl. He worked closely with architects and artists to plan and commission more than 40 buildings and art installations in the Sifang Parkland, which was nominated by The New York Times as a “Leading Culture Destination in Asia and the Pacific” in 2015. Listed in “The World's Top 100 Art Collectors” by artnet, Lu currently sits on Tate Modern’s Acquisition Committee, advisory board of Fosun Foundation, Art Basel's Global Patrons Council and is a founding member of Delfina Foundation’s Asia-Pacific Patron group.


董道兹David Tung

伦敦里森画廊上海总监。2010年至2015年2月任长征空间总监；2015年3月任上海余德耀美术馆副馆长，协助组建美术馆团队建立指导策略。2019年3月带领里森画廊在上海开设空间。从业多年来，他不但组织了多位重要的中国艺术家在国内外参加六十多个艺术展览，也将外国艺术家带到中国，为当代艺术在东西方的交流与推进产生了积极的影响。项目包括：艺术家娜塔莉·杜尔伯格 & 汉斯·博格在上海二十一世纪民生美术馆的个展 (2016)，瑞安·甘德在上海Cc基金会的中国首次个展 (2017)，朱利安·奥培在上海复星艺术中心的大型个展 (2017)，丹·格雷厄姆在北京红砖美术馆的个展 (2017)，宫岛达男在上海民生现代美术馆的个展(2019)，安尼施·卡普尔首次中国美术馆个展在中央美术学院美术馆、太庙(2019)等。

David Tung is the Director, Shanghai for Lisson Gallery.  He was formerly director at Long March Space (2009-2014) and served as deputy director of the Yuz Museum, Shanghai (2015).  David Tung holds B.A. in Asian Studies and Languages from the University of Texas, Austin and is a graduate from the first Kellogg-Guanghua Executive Masters of Business Administration Program (class 2016).

丹尼尔·斯坦森 Daniel Statham

丹尼尔·斯坦森1999年毕业于英国伦敦大学， 之后进入伦敦福斯特及合伙人多年， 主要负责亚洲项目如马来西亚石油科技大学及新加坡高级法院，同时协助事务所多项欧洲项目。

他的专业经历在加入多次获得奖项的结构工程事务所伦敦Atelier One后得到进一步提升， 协助研发创新施工工艺并参与伦敦白立方画廊的设计及建造。同时包括与英国现代艺术家 安东尼·葛姆雷, 雕塑家卡普尔, 朗兰和贝尔， 胡安穆尼奥斯和马克奎恩之间的合作。在2004年， 他与多次获奖的英国产品设计师奥斯格比合作递交了伦敦梅菲尔区Stella McCartney 旗舰店， 之后加入Grimshaw伦敦及纽约办公室， 负责项目包含伦敦巴特西发电站再开发及纽约富尔顿街地铁站。

2006年， 丹尼尔成立他的事务所， 至今他在亚洲， 美国及欧洲多领域递交项目。事务所第一个项目是成功递交中国兵马俑伦敦大英博物馆展览。之后事务所又递交了纽约联合国总部， 时代广场再开发， 2010年上海世博会新加坡馆设计，佛教文化博物馆， 新加坡国土规划总局总部等， 同时参与了圣地亚哥卡拉斯特拉瓦美国芝加哥旋转塔立面设计等。服务客户还包含三星， 维珍航空， 新加坡政府， 英国电信等。 

Daniel Statham graduated from University College London in 1999 and went on to work at Foster and Partners in London for several years on International projects mainly in Asia including the Petronas University of Technology in Malaysia and Singapore Supreme Law Courts in addition to assisting the studio teams  with other European projects. 

His experience was developed further with award winning structural engineers Atelier One in London developing innovative methods of construction and working on the design and construction of the White Cube Gallery’s in London. There were also collaborations within the UK modern arts working with artists that  included Antony Gormley, Anish Kapoor, Langlands & Bell, Juan Muñoz, and Marc Quinn. In 2004 he worked along side the award winning British Product Designers Barber Osgerby to deliver the Stella McCartney Flagship Store, Mayfair, London which after completion went on to work with Grimshaw in London and New York which projects included the Battersea Power Station Redevelopment, London and Fulton Street Station in New York.

In 2006 Daniel started his studio and to date has worked in a variety of sectors across Asia, America and Europe. The first project was the successful exhibition of China’s Terracotta Army at the British Museum, London with Atelier One which was a showcase event in the UK during 2007. Daniel Statham Architects have now gone on to work on projects in collaboration for the United Nations HQ and Times Square Redevelopment in New York, the Singapore Pavilion for EXPO 2010 Shanghai, the Buddhist Cultural Museum and CDL HQ in Singapore and to work with Santiago Calatrava on the facade of the Chicago Spire in the United States. Some of the clients along this journey include Samsung, Virgin Atlantic, Singapore Government and British Telecom.

“空间领导者ENSEMBLE URBAIN” 

展览攻略⚙️⚙️⚙️

空间领导者 | APSMUSEUM开馆展
展览日期：2020.11.12 - 2021.02.28参观时间：10:00 - 22:00，21:30停止售票/入场展览地点：APSMUSEUM，上海陆家嘴中心L+MALL三楼301

长按扫码，跳转展览购票通道🎫

购票指南🔍🔍🔍

票种	购票时间及使用时间	票价
平日票	购票时间为11.12-2021.2.28 此购票者仅限于2020.11.12-2021.2.28的工作日参观，一人一票，一次入场有效。	88元
周末票	购票时间为11.12-2021.2.28 此购票者仅限于2020.11.12-2021.2.28的周六日参观，一人一票，一次入场有效。	99元

优惠政策：免票人群说明：每一位成人可协同一位1.3米以下儿童，儿童享受免票(每张票限一名儿童门票)；70周岁以上老人、残疾人凭有效证件可免费参观，一人一票，一次入场有效。
现场优惠票(66元)：全日制大学生本科或以下学生及在职教师凭本人有效证件，可至展览现场购买优惠票；一人一票，一次入场有效。
特殊商品不予退换：展览票品具有唯一性、时效性等特殊属性，如非活动变更、活动取消、票品错误的原因外，不提供退换票品服务，购票时请务必仔细核对并谨慎下单，谢谢合作。
*最终解释权归APSMUSEUM所有。

空间领导者 | APSMUSEUM开馆展

ENSEMBLE URBAIN | APSMUSEUM Opening Exhibition

总策划：汪斌

General Organizer: Robin Wong

策展人：徐震

Curator: Xu Zhen

艺术家：安尼施·卡普尔、丁乙、莫娜·哈透姆、何岸、詹姆斯·特瑞尔、李汉威、陆兴华、米开朗基罗·皮斯特莱托、邱岸雄、施勇、汪建伟、王梓全、徐震®、杨振中、展望

Artists：Anish Kapoor, Ding Yi, Mona Hatoum, He An, James Turrell, Li Hanwei, Lu Xinghua, Michelangelo Pistoletto, Qiu Anxiong, Shi Yong, Wang Jianwei, Wang Ziquan, XU ZHEN®, Yang Zhenzhong, Zhan Wang

展期：2020.11.12 - 2021.02.28

Duration: 2020.11.12 - 2021.02.28

地点：APSMUSEUM，上海陆家嘴中心L+MALL三楼301

Venue: APSMUSEUM, No.301, Floor 3, L+MALL, Shanghai

联合主办：欣稚锋艺术机构、陆家嘴中心L+MALL

Organizers: Art Pioneer Studio, L+MALL

支持单位：上海中外文化艺术交流协会、上海市建筑学会、中华文化促进会、上海新华传媒股份有限公司

Support: Shanghai International Cultural Exchange Association, The Architectural Society of Shanghai China, Chinese Culture Promotion Society, Shanghai Xinhua Media Co.,LTD

特别鸣谢：佩斯画廊、里森画廊、常青画廊、没顶画廊、香格纳画廊、长征空间、白立方、马刺画廊

Acknowledgement: Pace Gallery, Lisson Gallery, GALLERIA CONTINUA, Madeln Gallery, ShanghART Gallery, Long March Space, White Cube, Spurs Gallery

APSMUSEUM是由欣稚锋艺术机构(Art Pioneer Studio)及其创始人汪斌(Robin Wong)女士创立的非营利艺术空间。APSMUSEUM关注当代艺术、建筑、设计、时尚等不同领域，意在寻找、搭建和展示彼此相互融合的“空间”可能性。APSMUSEUM试图延展出更多元的艺术与建筑、设计之间的公共文化空间，艺术与时尚之间的文化消费空间，人与社会文化之间的心理空间。APSMUSEUM坐落在上海陆家嘴中心L+Mall商场三楼，由意大利著名建筑设计事务所Stefano Boeri Achitetti担任室内设计。由展览空间APSPACE、艺术设计商店APSTORE和会晤空间APSALON三部分组成。APSMUSEUM致力于塑造一个非常独特的展览空间，能够将艺术和文化带到充满活力的零售空间概念中。

APSMUSEUM is a non-profit art space founded by Art Pioneer Studio and its founder, Ms. Robin Wong. With focuses on contemporary art, architecture, design, fashion, and other creative fields, the APSMUSEUM aims to discover, build, and integrate these areas of interest into a “space” of possibilities. The APSMUSEUM attempts to extend diverse public cultural spaces that bring together art, architecture, and design, a venue of cultural consumption of art and fashion, a psychological space that addresses man and social culture. APSMUSEUM is located in the L+Mall of Lujiazui, Shanghai. The renowned Italian design firm, Stefano Boeri Achitetti, executes its interior design consisting of APSPACE for exhibition, APSTORE for art and design shop, and APSALON for meetings. APSMUSEUM aims to create an unconventional exhibition space that brings art and culture to a vibrant retail concept.

上海陆家嘴中心L+Mall位于上海陆家嘴核心区域，邻近上海中心、环球金融中心等。体量超过140000平方米，地上10层商业，地下1层商业，坐落在“黄金角”地段，L+Mall已成为上海金融中心的新枢纽。L+Mall建筑由全球顶级建筑事务所SOM(Skidmore, Owings & Merrill LLP)设计，屡获国际殊荣的建筑设计事务所Benoy为这座上海核心金融区的大体量中高端购物中心提供了商业空间规划，室内设计及标识设计。

2019年，L+Mall引入巴黎老佛爷百货(Galeries Lafayette)旗舰店，同时拥有世界各大奢华品牌及小众精品等近600个品牌。融合了餐饮，休闲娱乐，跨界体验，艺术空间等多元业态。

L+Mall is located at the heart of Lujiazui, Shanghai, neighboring Shanghai Center, and Shanghai World Financial Center. Its more than 140,000 square meters of construction are divided into ten floors of retail space above ground and one underground. Situated at the "Golden Tip", L+Mall has become the new hub of Shanghai's financial center. Designed by the world's top architecture firm SOM (Skidmore, Owings & Merrill LLP), Benoy's international award-winning architecture firm has provided commercial space planning, interior design, and logo design for this sizeable mid-range and upscale shopping mall in the heart of Shanghai's financial district.

 In 2019, L+Mall introduced the flagship store of Galeries Lafayette, which features nearly 600 brands from the world's major luxury brands and boutiques. It integrates diverse experiences such as dining, leisure and entertainment, crossover experiences, and art spaces.

点击图片回顾往期

APSMUSEUM论坛 | 安尼施·卡普尔的幻象空间

APSMUSEUM论坛回顾 | James Turrell从光与色彩到空间与城市

APSMUSEUM论坛 | 与光合谋——James Turrell给建筑带来了什么？

关于欣稚锋艺术机构

欣稚锋艺术机构（Art Pioneer Studio）与国内外优秀艺术家、设计师和建筑师合作，致力于为城市与乡村室内外空间策划、设计并制作独一无二的定制艺术品，将触动人心的艺术力量赋予建筑空间和城市环境，以卓越的创造力打造非同凡响的公共艺术空间。

APS时刻都在探索城市与乡村公共空间的艺术可能性，在艺术项目与环境之间建立连接是APS的重要课题。我们根据项目的不同性质和特点进行整体艺术方案策划，为艺术家提供充分的创作和探索空间，为城市豪华酒店、高端写字楼、商场与住宅的室内外空间、以及艺术节项目等提供全程策展及监制服务。我们寻求艺术与不同领域之间的对话，组织并促进国际性跨学科的合作，尤其在建筑及艺术领域之间组织跨界合作，让建筑师与艺术家共同创造独一无二、量身定做的优秀公共艺术作品。

APS已与来自全球十余个国家和地区的40余位艺术家开展合作关系，并受政府委托策划执行2019上海城市空间艺术季（SUSAS 2019），同时在文华东方酒店集团、光明集团、陆家嘴集团及政府的多个境内外地产项目中担任全程艺术策划及监制顾问。

The Art to be continued…

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