Ullens Center for Contemporary Art Opens in Beijing


The interior of the Ullens Center for Contemporary Art (UCCA) in 798 District, Dashanzi here in northeast Beijing and the exterior of the UCCA featuring a large brick chimney soaring through the building to 164 feet above the ground which is a highly visible landmark and beacon for the arts district. / Courtesy of UCCA

By Chung Ah-young
BEIJING ― The saying “Except for money and big studios, Chinese artists have everything they need,” is indicative of Chinese artists who suffered turbulent times in the 1980s with the birth of contemporary arts.

But now Chinese artists seem to have everything “including money and big studios” at least in 798 District, Dashanzi here in northeast Beijing.

With the growing international presence here, the Ullens Center for Contemporary Art (UCCA) opened Monday in a transformed Bauhaus-style electronics factory in the flourishing 798 art zone. Factory 798, a former military electronics complex designed by East German architects, was decommissioned in the 1990s.

The art center is the first of its kind as the only non-profit institution and the most comprehensive contemporary art institution in China founded by the Ullens family from Belgium.

The institution is currently holding an inaugural exhibition exploring the 1980s artists under the theme of “85 New Wave: The Birth of Chinese Contemporary Art,” as the first comprehensive display of Chinese contemporary artworks from 1985 to 1990.

The exhibit presents a total of 137 seminal works including painting, photography, video and installation by 30 renowned Chinese artists from that period such as Wang Guangyi, Xu Bing, Geng Jianyi, Huang Yongping and Zhang Peili.

UCCA Artistic Director Fei Dawei told reporters at the press conference on Nov. 1 at the center that this is the first major exhibition exploring the revolutionary movement of artistic and social transformation.

“Some of the most important works of contemporary Chinese art at the time were unknown to the world until late 1990s when they felt the influence of rapid economic development and the widespread fame of the political pop artists,” said Fei, who is a specialist on the 1985 Movement.

“Our exhibitions are Chinese and international. We want to hold different cultural exhibitions and believe that contemporary arts are not just about Chinese contemporary arts and Western contemporary arts but they are different perspectives,” he said.

He explained that the opening exhibition focuses on the revolutionary period in art history when Chinese artists broke free from decades of socialist realism and began a process of intense experimentation.

The center reconstructed by French architect Jean-Michel Wilmotte, in collaboration with Ma Qingyun who leads a well-known Chinese architectural office MADA s.p.a.m, covers a floor space of 8,000 square meters.

Comprised of two main halls situated side by side, the 86,112-square-foot building features 31-foot-high ceilings to accommodate monumental works.

Wilmotte said that he tried to install effective lights, which was one of the most important elements in architecture by regulating the quality of interior light, ensuring maximum natural light in the building without harming works with direct exposure to sunlight.

“Natural light using daylight is controlled and diffused through the center of the roof to protect artworks,” said Wilmotte.

“Also, I tried to revive its architectural identity by symbolizing a large brick chimney soaring through the building to 164 feet above the ground which is a highly visible landmark and beacon for the arts district,” he said.

The center will also offer educational programs such as art tours, screenings and lectures for schools and communities, which is also part of the efforts of the Ullens institutions.

Guy Ullens began collecting Chinese classical paintings of the Song, Yuan, Ming and Qing dynasties in the 1980s. He has also developed an interest and understanding of Chinese art in the mid-1980s Chinese Avant-Garde movement.

He said the focus of his collection has shifted to Chinese contemporary art. He has had strong links with China since childhood, as the son of a Belgian diplomat who was stationed in China for many years, where his uncle also served as the Belgian Ambassador. Guy Ullens retired from business in 2000 to focus on humanitarian and cultural activities with his wife, Myriam.

“To spread art knowledge to the general public as the only non-profit institution in the country,” Guy Ullens explained his purpose for the opening of the art center in Beijing.

His collection features more than 1,500 works by several generations of Chinese artists.

The Guy and Myriam Ullens Foundation, established in Switzerland in 2002, promotes Chinese contemporary art by sponsoring events worldwide, lending works from its collection to museums and art centers, and organizing major exhibitions in China and Europe.

Source: The Korean Times

Wang Guang Yi: “Porsche”

当代艺术的Ullens 中心打开在 北京


Ullens 中心的内部当代艺术(UCCA) 在798 区, Dashanzi 这里在东北北京和UCCA 的外部的以一个大砖烟囱为特色腾飞通过是一个高度可看见的地标和烽火台为UCCA 艺术区/礼貌的大厦对164 英尺在地面之上

由钟安培小时年轻
北京- 说法“Except 为金钱和大演播室, 中国艺术家有一切他们需要, ” 是遭受动荡时期在80 年代以当代艺术诞生的表示的中国艺术家。

但中国艺术家现在似乎有一切“including 金钱和大studios” 至少在798 区, Dashanzi 这里在东北北京。

以增长的国际存在这里, 当代艺术的Ullens 中心(UCCA) 打开了星期一在一家被变换的Bauhaus 样式电子工厂在茂盛的798 艺术区域。工厂798, 前军事电子复合体由东德建筑师设计, 退役了在90 年代。

艺术中心是第一作为唯一的非盈利机关和最全面的当代艺术机关在中国由Ullens 家庭建立从比利时。

机关当前举行就职陈列探索80 年代艺术家在“85 新波浪之下题材: 中国当代艺术诞生, ” 作为中国当代艺术品第一全面显示从1985 年到1990 年。

展览提出一共计137 精液工作包括绘画, 摄影, 录影并且设施由30 使中国艺术家有名望从那个期间譬如Wang 广义, 徐堆, Geng Jianyi, 黄・永平和张・Peili 。

UCCA 艺术性的主任Fei Dawei 告诉了记者在关于新闻招待会11月的1 日在中心, 这是第一主要陈列探索艺术性和社会变革的革命运动。

当代中国艺术最重要的工作的“Some 当时是未知的对世界直到90 年代末期当他们感觉迅速经济发展的影响和政治流行音乐艺术家的普遍名望, ” 前述Fei, 是一名专家在1985 年运动。

“Our 陈列是汉语和国际的。我们想要举行不同的文化陈列和相信, 当代艺术不是仅关于中国当代艺术和西部当代艺术但是他们是不同的透视, ” 他说。

他解释, 开头陈列集中于革命期间在艺术史上当中国艺术家任意打破了从数十年社会主义现实主义和开始了强烈的实验的过程。

中心由French 建筑师吉恩・Michel Wilmotte 重建, 与带领一个知名的中国建筑办公室MADA s.p.a.m 的Ma 庆运合作, 包括8,000 平方米地板面积。

由二个主要大厅组成肩并肩位于, 86,112 正方形英尺大厦以31 脚高的天花板为特色容纳巨大的工作。

Wilmotte 认为, 他设法安装有效的光, 是最重要的元素的当中一个在建筑学由调控内部光的质量, 保证最大自然光在大厦没有危害工作以对阳光的直接暴露。

“Natural 光使用白天是受控和散开通过屋顶的中心保护艺术品, ” 前述Wilmotte 。

“Also, 我设法复兴它的建筑身分由象征一个大砖烟囱腾飞通过是一个高度可看见的地标和烽火台为艺术区的大厦对164 英尺在地面之上, ” 他说。

中心并且将提供教育节目譬如艺术游览、掩护和演讲为学校和社区, 并且作为Ullens 机关的努力的部分。

人Ullens 开始收集歌曲、元、Ming 和清朝的中国古典绘画在80 年代。他并且开发了兴趣和了解中国艺术在80 年代中期中国Avant-Garde 运动。

他说他的汇集焦点转移了到中国当代艺术。他有强的链接与中国从童年, 作为驻防在中国许多年, 他的伯父并且担当比利时大使一位比利时外交官的儿子。2000 年人Ullens 从事务退休集中于人道主义和文化活动与他的妻子, Myriam 。

“To 传播了艺术知识对公众作为唯一的非盈利机关在国家, ” 人Ullens 解释了他的目的为艺术中心的开头在北京。

他的汇集以超过1,500 工作为特色由几个中国艺术家的世代。

人和Myriam Ullens 基础, 2002 年建立在瑞士, 促进中国当代艺术由主办事件全世界, 借运作从它的汇集对博物馆和艺术中心, 和组织的主要陈列在中国和欧洲。

来源: 韩国时代

Wang 广伊: “Porsche”

2007 年11月5 日
类别: 当代艺术的Ullens 中心打开在北京 。标记: , , , , , , , , 。作者

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1 Comment

  1. Wonderfully informative as usual.


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