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”
Ullens ä¸å¿ƒçš„内部当代艺术(UCCA) 在798 区, Dashanzi 这里在东北北京和UCCA çš„å¤–éƒ¨çš„ä»¥ä¸€ä¸ªå¤§ç –çƒŸå›±ä¸ºç‰¹è‰²è…¾é£žé€šè¿‡æ˜¯ä¸€ä¸ªé«˜åº¦å¯çœ‹è§çš„åœ°æ ‡å’Œçƒ½ç«å°ä¸ºUCCA 艺术区/礼貌的大厦对164 英尺在地é¢ä¹‹ä¸Š |
由钟安培å°æ—¶å¹´è½»
北京- 说法“Except 为金钱和大演æ’室, ä¸å›½è‰ºæœ¯å®¶æœ‰ä¸€åˆ‡ä»–们需è¦, †是éå—动è¡æ—¶æœŸåœ¨80 年代以当代艺术诞生的表示的ä¸å›½è‰ºæœ¯å®¶ã€‚
但ä¸å›½è‰ºæœ¯å®¶çŽ°åœ¨ä¼¼ä¹Žæœ‰ä¸€åˆ‡â€œincluding 金钱和大studios†至少在798 区, Dashanzi 这里在东北北京。
以增长的国际å˜åœ¨è¿™é‡Œ, 当代艺术的Ullens ä¸å¿ƒ(UCCA) 打开了星期一在一家被å˜æ¢çš„Bauhaus æ ·å¼ç”µå工厂在茂盛的798 艺术区域。工厂798, å‰å†›äº‹ç”µåå¤åˆä½“由东德建ç‘师设计, 退役了在90 年代。
艺术ä¸å¿ƒæ˜¯ç¬¬ä¸€ä½œä¸ºå”¯ä¸€çš„éžç›ˆåˆ©æœºå…³å’Œæœ€å…¨é¢çš„当代艺术机关在ä¸å›½ç”±Ullens 家åºå»ºç«‹ä»Žæ¯”利时。
机关当å‰ä¸¾è¡Œå°±èŒé™ˆåˆ—探索80 年代艺术家在“85 新波浪之下题æ: ä¸å›½å½“代艺术诞生, †作为ä¸å›½å½“代艺术å“第一全é¢æ˜¾ç¤ºä»Ž1985 年到1990 年。
展览æ出一共计137 精液工作包括绘画, æ‘„å½±, 录影并且设施由30 使ä¸å›½è‰ºæœ¯å®¶æœ‰å望从那个期间è¬å¦‚Wang 广义, å¾å †, Geng Jianyi, é»„ãƒ»æ°¸å¹³å’Œå¼ ãƒ»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ä¸å¿ƒ, 这是第一主è¦é™ˆåˆ—探索艺术性和社会å˜é©çš„é©å‘½è¿åŠ¨ã€‚
当代ä¸å›½è‰ºæœ¯æœ€é‡è¦çš„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ç»æµŽå‘展的影å“和政治æµè¡ŒéŸ³ä¹è‰ºæœ¯å®¶çš„æ™®éå望, †å‰è¿°Fei, 是一å专家在1985 å¹´è¿åŠ¨ã€‚
“Our 陈列是汉è¯å’Œå›½é™…的。我们想è¦ä¸¾è¡Œä¸åŒçš„文化陈列和相信, 当代艺术ä¸æ˜¯ä»…关于ä¸å›½å½“代艺术和西部当代艺术但是他们是ä¸åŒçš„é€è§†, †他说。
他解释, 开头陈列集ä¸äºŽé©å‘½æœŸé—´åœ¨è‰ºæœ¯å²ä¸Šå½“ä¸å›½è‰ºæœ¯å®¶ä»»æ„æ‰“ç ´äº†ä»Žæ•°å年社会主义现实主义和开始了强烈的实验的过程。
ä¸å¿ƒç”±French 建ç‘师å‰æ©ãƒ»Michel Wilmotte é‡å»º, 与带领一个知åçš„ä¸å›½å»ºç‘办公室MADA s.p.a.m çš„Ma 庆è¿åˆä½œ, 包括8,000 平方米地æ¿é¢ç§¯ã€‚
由二个主è¦å¤§åŽ…组æˆè‚©å¹¶è‚©ä½äºŽ, 86,112 æ£æ–¹å½¢è‹±å°ºå¤§åŽ¦ä»¥31 脚高的天花æ¿ä¸ºç‰¹è‰²å®¹çº³å·¨å¤§çš„工作。
Wilmotte 认为, 他设法安装有效的光, 是最é‡è¦çš„å…ƒç´ çš„å½“ä¸ä¸€ä¸ªåœ¨å»ºç‘å¦ç”±è°ƒæŽ§å†…部光的质é‡, ä¿è¯æœ€å¤§è‡ªç„¶å…‰åœ¨å¤§åŽ¦æ²¡æœ‰å±å®³å·¥ä½œä»¥å¯¹é˜³å…‰çš„直接暴露。
“Natural 光使用白天是å—控和散开通过屋顶的ä¸å¿ƒä¿æŠ¤è‰ºæœ¯å“, †å‰è¿°Wilmotte 。
“Also, 我设法å¤å…´å®ƒçš„建ç‘身分由象å¾ä¸€ä¸ªå¤§ç –烟囱腾飞通过是一个高度å¯çœ‹è§çš„åœ°æ ‡å’Œçƒ½ç«å°ä¸ºè‰ºæœ¯åŒºçš„大厦对164 英尺在地é¢ä¹‹ä¸Š, †他说。
ä¸å¿ƒå¹¶ä¸”å°†æ供教育节目è¬å¦‚艺术游览ã€æŽ©æŠ¤å’Œæ¼”讲为å¦æ ¡å’Œç¤¾åŒº, 并且作为Ullens 机关的努力的部分。
人Ullens 开始收集æŒæ›²ã€å…ƒã€Ming 和清æœçš„ä¸å›½å¤å…¸ç»˜ç”»åœ¨80 年代。他并且开å‘了兴趣和了解ä¸å›½è‰ºæœ¯åœ¨80 年代ä¸æœŸä¸å›½Avant-Garde è¿åŠ¨ã€‚
他说他的汇集焦点转移了到ä¸å›½å½“代艺术。他有强的链接与ä¸å›½ä»Žç«¥å¹´, 作为驻防在ä¸å›½è®¸å¤šå¹´, 他的伯父并且担当比利时大使一ä½æ¯”利时外交官的儿å。2000 年人Ullens 从事务退休集ä¸äºŽäººé“主义和文化活动与他的妻å, Myriam 。
“To ä¼ æ’了艺术知识对公众作为唯一的éžç›ˆåˆ©æœºå…³åœ¨å›½å®¶, †人Ullens 解释了他的目的为艺术ä¸å¿ƒçš„开头在北京。
他的汇集以超过1,500 å·¥ä½œä¸ºç‰¹è‰²ç”±å‡ ä¸ªä¸å›½è‰ºæœ¯å®¶çš„世代。
人和Myriam Ullens 基础, 2002 年建立在瑞士, 促进ä¸å›½å½“代艺术由主办事件全世界, 借è¿ä½œä»Žå®ƒçš„汇集对åšç‰©é¦†å’Œè‰ºæœ¯ä¸å¿ƒ, 和组织的主è¦é™ˆåˆ—在ä¸å›½å’Œæ¬§æ´²ã€‚
æ¥æº: 韩国时代
Wang 广伊: “Porscheâ€
2007 年11月5 日
类别: 当代艺术的Ullens ä¸å¿ƒæ‰“开在北京 ã€‚æ ‡è®°: 建ç‘å¦, 北京, 汉è¯, 当代, 黄・永平, 韩国时代, Ullens ä¸å¿ƒ, Wang 广义, å¼ ãƒ»Peili 。作者