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Museums 头条 当代

Museum | Shanghai Museum of Contemporary Art: China’s first public museum dedicated to contemporary art

POWER STATION OF ART

As well as being the first state museum dedicated to contemporary art in mainland China, the Power Station of Art is also home to the Shanghai Biennale. The building was formerly the Nanshi power plant, built in 1985, and then became the Pavilion of the Future in 2010 during the Shanghai World Expo. Following a renewal and expansion project, the PSA officially opened its doors on 1 October 2012 as a public platform that promotes culture and art.

Shanghai, Power Station of Art – Terrace view

Located on the left bank of the Huangpu River, the PSA occupies an area of 42 thousand square meters and can host exhibition sections that reach 15 thousand square meters. The renovation project, which cost about sixty-four million dollars, wanted to keep the vast spaces of the previous building and its industrial features with the addition of contemporary elements. The aim of the museum is to break down the barrier that separates the exhibition space from the space for “free time” by creating a profound relationship between man and art. In addition, the visit breaks the traditional single-track system to create many possibilities for artistic exploration.

Power Station of Art – Interior design

Not having permanent collections the museum hosts temporary Chinese and international exhibitions. The first exhibition organized for the inauguration of the museum in 2012 presented more than 100 pieces from the Parisian Center Pompidou gallery entitled “Portrait of the Times”, which focuses on the surrealist avant-garde. The title of the exhibition was inspired by the first Surrealist collaboration in 1919 by Andre Breton and Philippe Souhault, “Magnetic Fields”. The works, from Renè Magritte to Ed Ruscha, included drawings, sculptures, installations, videos, photographs, prototype constructions and drafts that helped to examine the poetic character of surrealism. This event was of paramount importance as it constituted the first collaboration between a Chinese museum and the Pompidou.

Electric Fields: Surrealism and beyond”- First exhibition, 2012
“Electric Fields: Surrealism and beyond”- First exhibition, 2012

Gong Yan (1977-), from 2013 director of the PSA, graduated from the Ecole National Supérieure des Beaux-Arts, in Paris. In 2005, she founded the “O Art Center” focusing on unstable multimedia art and the city’s research by providing a dynamic platform for young talents and curators. Curator and artist, her works have been exhibited at the Shanghai Biennial in 2002 and 2006 and she is also at the helm of the influential Chinese magazine “Art World”. Her mission is to look to the future but at the same time to understand and incorporate the past of the city which is a unique trajectory that reaches the present day.

Gong Yan – Director of Power Station of Art

“I wish the Power Station was not just a box to be filled with this or that exhibition, but a creative and dynamic container, open to different experiments. And I would like visitors to be not just a distant and silent audience » (Gong Yan)

Nanshi Power Plant in 1985

Before the opening of the Power Station, the Shanghai Biennials were held in the rooms of the Shanghai Art Museum. Since its opening in 2012, the PSA has already hosted three editions of the Biennale, the ninth, the tenth and the eleventh. The tenth organized in 2014 and entitled “Social Factory”, questioned what characterizes the production of the social and on how the “social facts” are constituted starting from the year 1978, a turning point in the modernization of China. According to Chris Dercon, director of the Tate Modern in London, he represented an “epochal turning point” for contemporary art in China.

“Social Factoy” – The 10th Shanghai Biennale, 2014

The twelfth Biennale will be inaugurated on 10 November 2018 with the title “Proregress: Art in an Age of Historical Ambivalence” whose works will try to sensitize the public about the contradictions that characterize our time.

“Proregress: Art in Age of Historical Ambivalence” – The 12th, Shaghai Biennale, 2018

The Power Station often resorts to private sponsorships like most contemporary Chinese museums: thanks to them it has set up important exhibitions such as the personal exhibition of Cai Guo-Qiang named “The Ninth Wave”, in 2014, and, in 2012, the already mentioned “Electric Fields: Surrealism and Beyond.” The exhibitions that are set up touch different fields of contemporary art such as architecture, photography, performances, graphic design, product design and bio art.

“Cai Guo-Qiang: The Ninth Wave” – Solo exhibition, 2014

VISIT

Address: 200 Huayuangang Road, Huangpu District, Shanghai
Hours: 11:00 – 19:00 from Tuesday to Sunday, closed on Mondays; open on all national holidays. Last admission at 18:00.
Admission is free except for special exhibitions.

CONTACTS

Telephone: 021-31108550
Website: http://www.powerstationofart.com/en/
E-mail: info@powerstationofart.com

Credits:

http://www.powerstationofart.com/en/https://www.archdaily.com/293515/power-station-of-art-original-design-studiohttp://www.vogue.it/people-are-talking-about/vogue-arts/2015/06/gong-yan

Photo credits:

http://www.timeoutshanghai.com/venue/Galleries/8072/Power-Station-of-Art.htmlhttp://www.artribune.comhttp://www.powerstationofart.com/en/https://dreamofacity.com

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传统 头条

传统 | 陈之佛花鸟画展 – 南京博物院 南京 2017.10.1-2018.4.20

Exhibition of Chen Zhifo’s Autumn and Winter Themed Paintings 

Dates: 1.10.2017-20.4.2018
Opening hours: 9:00-17:00(closed on Mondays)
Location: 2F, 22nd Exhibition Hall, Art Pavilion, Nanjing Museum
Address: 321 Zhongshan Dong Road, Nanjing, China
Website: official web page

Chen Zhifo(1896-1962), also known as Chen Shaoben, Chen Jie, Born in Yuyao, ZhejiangProvince, was a well-known Chinese educator of modern art, an artist and a craftsman. He was graduated from the major of Automatic Weaving of the First Industrial Institute of Hangzhou in 1916 and in the 1918 he went to Tokyo University of the Arts to study in the Department of Applied Art and returned to China in 1923 to establish the Shangmei Patterns Gallery.

Chen was trapped into a chaotic situation in most time of his life due to the war until after the construction of People’s Republic of China. In those periods of social and political upheavals, only by having strong faith toward his passion and a spirit of not sailing with the stream can an artist be remembered.

(Translated from www.njmuseum.com)

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传统 头条

当代 | 吴卿金雕木刻展 – 山东博物馆 济南 2018.1.23-2018.3.4

Roaming Free in Magnificente Infinity Sculptures of Wu Ching

Dates: 23.1.2018-4.3.2018
Opening hours: 9:00-17:00(closed on Mondays)
Location: 5th exhibition hall, Shandong Museum
Address: 11899 Jingshi Road, Jinan, China

Wu Ching was born into a simple farming family of Chiayi, Taiwan in 1956. The only word to describe his youth is “wild.” Farming village life was pretty simple, giving him a most unfettered childhood and a far more genuine experience of life than most. He first encountered carving at age 17 and developed his rudimentary technique from carving wood furniture.

Wu Ching is a sculptor that embeds his observation and reflection of the nature in his sculpture. Starting from the incision in wood, the artist has created his unique sculpture series in gold, which is extremely different from the traditional Chinese sculpture works made by wood, stone, jade, bamboo, bones and ivory.

The exhibition presents 30 pieces of selected sculpture works in gold and wood divided in four themes, namely wood sculptures, gold sculptures, bionomics and abstractism, in which the superb techniques of the artist and the breathtaking beauty of the works will bring not only a feast to the eye but also a deep interpretation of the aesthetic and philosophic senses.

(Translated fromwww.sdmuseum.com)

A love in Life and Death 1995
A love in Life and Death 1995

Bionomics of Spiders 2016
Bionomics of Spiders 2016

Reminiscences of Rustic Pleasures 2016
Reminiscences of Rustic Pleasures 2016

Mundane Infinity 1995
Mundane Infinity 1995

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古代 头条

古代 | 《红楼梦》画册展 – 河北博物院 石家庄 2018.1.26-2018.4.25

Magnificence of the Dream of the Red Chamber – Exhibition of Sun Wen’s Illustration for Dream of the Red Chamber

Dates: 26.1.2018-25.4.2018
Opening hours: 9:00-17:00(closed on Mondays)
Location: The 13th and the 14th  exhibition hall, Hebei Museum
Address: 4 Dongda Road, Shijiazhuang, China
Website: official web page

Dream of the Red Chamber, also called The Story of the Stone, composed by Cao Xueqin in the middle of the 18th century during the Qing Dynasty, is one of China’s Four Great Classical Novels. Being the culmination of Chinese classic literature,  it is known as the pinnacle of Chinese fiction and the encyclopedia of the Chinese society.

The picture album of the Dream of the Red Chamber collected in the Museum of Lushun, is composed by Sun Wen, a painter lived in the late Qing Dynasty in Tangshan, Hebei Province, who spent 36 years to complete the 230 illustrations that includes all 120 episodes of the novel,  with more than 3,700 figures. The painting technics used by Sun Wen was a mix of the Chinese traditional green-color landscape paintings and Gongbi painting(characterized by fine brushwork, close attention to detail and bright colors), and also inspired by western oil painting, which has delicately presented the landscapes and figures, architectures, plants and flowers and furnitures.

Panorama of the main scenery of Dream of the Red Chamber
Panorama of the main scenery of Dream of the Red Chamber

Chapter 9 Devoted Friends Join the Clan School Mud-Slinging Boys Brawl in the Classroom
Chapter 9 Devoted Friends Join the Clan School Mud-Slinging Boys Brawl in the Classroom

Chapter 70 Daiyu Starts Another Poetry Club Peach-Blossom Society Xiangyun Dashes Off a Poem on Willow Catkins
Chapter 70 Daiyu Starts Another Poetry Club Peach-Blossom Society Xiangyun Dashes Off a Poem on Willow Catkins

Chapter 50 In Reed Snow Cottage Girls Vie in Composing a Collective Poem In Warm Scented Arbour Fine Lantern Riddles Are Made
Chapter 50 In Reed Snow Cottage Girls Vie in Composing a Collective Poem In Warm Scented Arbour Fine Lantern Riddles Are Made

Chapter 53 Ancestral Sacrifice Is Carried Out on New Year’ s Eve in the Ning Mansion An Evening Banquet Is Held on the Feast of Lanterns in the Rong Mansion

(Translated from www.hebeimuseum.org)

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古代 头条

古代 | 春秋战国 – 湖南省博物馆 长沙 2017.12.29-2018.3.28

The Dawning East -Collections from the Spring and Autumn and the Warring States Periods

Dates: 29.12.2017-28.3.2018
Opening hours: 9:00-17:00(closed on Mondays)
Location: 2nd exhibition hall, 1F, Hunan Museum
Address: No.50 Dongfeng Road, Changsha, China
Website: official web page

This is an era featured by vitality and dynamism, an era blessed with exquisite craftsmanship and delicate innovation and an era where Chinese civilization and traditional culture took shape. The old institution was abolished while the new order established, revealing the dawning in the east.

240 pieces of precious cultural relics from 30 cultural institutions and museums nationwide are collected for this exhibition to help the visitors get a deeper understanding of the Spring and Autumn and the Warring States Period which was a time of great historic transformations from a grand narrative perspective. The Spring and Autumn and Warring States Period (770 to 221 BC) spanning over 500 years, played a vital role in Chinese history when profound changes and turbulences mixed up with great advances and integration. Despite complicated historic lines during the period, the exhibition, by making painstaking and scrupulous research on the historical records, decided to tell what happened in the east from political, economic and cultural aspects. The period was also called by the famous German scholar Karl Jaspers as the “Axial Age” of human civilization.

(Transferred from www.hnmuseum.com)

Bronze Wine Vessel in Matching Tray from Tomb of Marquis Yi of Zeng (433 B.C. – )

Bronze Wine Vessel in Matching Tray from Tomb of Marquis Yi of Zeng (433 B.C. – )

Bronze Wine Vessel in Matching Tray from Tomb of Marquis Yi of Zeng (433 B.C. – )

Du tiger-shaped tally (770 B.C.-221 B.C.)

Bronze two-wing legendary beast inlaid with silver (770 B.C.-221 B.C.)

Bronze tally inlaid with gold (770 B.C.-221 B.C.)

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古代 头条

古代 | 中国古代文房 – 观复博物馆 上海 2018.1.18-2018.9.16

Exhibition: Chinese Ancient Treasures of the Study

Dates: 18.1.2018-16.9.2018
Opening hours: 10:00-17:00 on Mondays, 10:00-18:00 from Tuesday to Sunday
Location: Guanfu Museum(branch in Shanghai)
Address: 37F Shanghai Tower, 501 Yinchengzhong Road Pudong District, Shanghai, China
Website: official website

The exhibition will present more than 70 pieces of collection from the five most important ceramic kilns of Song Dynasty(960-1279), namely Ru, Guan, Ge, Jun, Ding(also known as Five Famous Kilns, is a generic term for ceramic kilns or wares). The group were only so called by much later writers under the Ming and Qing dynasties, and of the five, only two (Ru and Guan) seem to have produced wares directly ordered by the Imperial court. Besides, the exhibition is will be the first occasion that porclain works of all these five kilns gathered together in the Shanghai Guanfu museum.

Biyong Inkstone of celadon glaze Tang Dynasty

Hollow carved pencil case with Arabic letters

Plate of Ru Ware Northern Song Dynasty

Penholder Bronze Ming Dynasty

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古代 头条

古代 | 古代壁画艺术展 – 上海博物馆 2017.11.30-2018.3.4

Exhibition of Ancient Wall paintings From Shanxi Museum

Dates: 30.11.2017-4.3.2018
Opening hours: 9:00-17:00(closed on Mondays)
Location: 1st exhibition hall, Shanghai Museum
Address: 201 People’s Avenue, Huangpu District, Shanghai, China

In the exhibition 89 pieces of selected mural paintings from Sanxi Province created in the Northern Dynasty(386-581) and the Song, Jin and Yuan period(960-1368) will be presented, which have never been shown to the public.

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传统 头条

传统 | 齐白石山水十二屏1.4亿美元成交 荣登中国最贵艺术品

The 17th of December in 2017 has witnessed the selling of the most expensive Chinese artwork in record: Qi Baishi’s Twelve Screens of Landscapes created in 1925 went under the hammer at Beijing Poly Auction at 930 million RMB, namely 142 million US dollars, bought buy a Chinese collector.

Qi Baishi (1 January 1864 – 16 September 1957) was a Chinese painter, noted for the whimsical, often playful style of his watercolor works.

Qi Baishi, Twelve Screens of Landscapes(partial), 1925
Qi Baishi, Twelve Screens of Landscapes(partial), 1925

Qi Baishi, Twelve Screens of Landscapes(partial), 1925
Qi Baishi, Twelve Screens of Landscapes(partial), 1925

Born to a peasant family from Xiangtan, Hunan, Qi became a carpenter at 14, and learned to paint by himself. After he turned 40, he traveled, visiting various scenic spots in China. After 1917 he settled in Beijing.

Shrimps by Qi Baishi
Shrimps by Qi Baishi

He has created only 2 extant Twelve Screens of Landscapes in his 93-year-old life. The present set, created by Qi at the age of 62 years old as a birthday gift to the renowned doctor Chen Zilin, was kept in the hand of one of Qi’s female pupil Xiuyi Guo. It was originally set to be sold at Beijing Poly Auction in 2015 with an estimate of RMB 800m -1.5b but the plan was later called off. This time, the painting carried a pre-sale estimate of RMB 500m and was sold for RMB 931.5 million.

Shrimps by Qi Baishi
Shrimps by Qi Baishi

 

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头条

古代 | 如意与瓷器特展 – 龙美术馆 上海 2017.10.1 – 2018.3.31

Ruyi To Be Found Everywhere In Life: Long Museum Exhibition of Chinese Ruyi and Porcelain

Dates: 1.10.2017-31.3.2018
Opening hours: 10:00-17:00 (closed on Mondays)
Location: PUDONG Long Museum
Address: 3398 Longteng Avenue, Xuhui District, Shanghai, China
Website: http://thelongmuseum.org/en/exhibition/overview/a15fpw

Many Chinese greeting words used in daily life or during festivals include two Chinese characters “Ru” and “Yi” (literally “as desired”), like “good luck”, “all the best” and “happy lunar new year”. “Ruyi”, as our casual and habitual use, actually carries deep and rich cultural connotation since ancient times. As a metaphysical concept, the word “Ruyi” appeared as early as in “The Book of Han”. At that time it was not only used literally to indicate “as desired”, but also as the given name of a member of the royal family Liu. As a secular concept, “Ruyi” was one of the most fascinating material objects left in ancient life.

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头条

古代 | 明代御窑瓷器展 – 故宫博物院 北京 2017.9.29-2018.2.28

Imperial Porcelains from the Reigns of Hongzhi and Zhengde in the Ming Dynasty: A Comparison of Porcelains from the Imperial Kiln Site at Jingdezhen and Imperial Collection of the Palace Museum

Dates: 29.9.2017-28.2.2018
Opening hours: 8:30-17:00 (closed on Mondays)
Location: Hall for Abstinence (Zhai gong), Palace Museum, China
Address: 4 Jingshan Qian Road, Dongcheng District, Beijing, China
Website: Official web page

The reigns of the Hongzhi Emperor (r. 1488-1505) and the Zhengde Emperor (1506-1521) are the watershed of the Ming-dynasty’s social and cultural changes at the turn of the sixteenth century. The stifling conservativeness gave way to dynamic innovation. A penchant for wealth replaced previous admiration for unsophisticated simplicity. Imperial porcelains from the two reigns share some commonalities including the shrinking scale of production, plummeting variety, and the relative austerity in terms of decoration. For this reason, ceramic objects of the two dynasties are displayed together in this exhibition in five parts –

Freshness & Elegance: Blue-and-White Porcelain and Underglaze Red Porcelain;

II. Lightness & Beauty: Polychrome Porcelain and Doucai Porcelain;

III. Colorful Porcelain: Multi-Colored Glaze Porcelain and Plain Tricolor Porcelain;

IV. Uniformity & Pureness: Single Colored Glaze Porcelain;

V. Profundity of Influence: Chenghua Imperial Porcelain Imitated by Later Ages.