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Shanghai, China Overview Introduction
Shanghai, China Overview Introduction The name Shanghai still conjures images of romance, mystery and adventure, but for decades it was an austere backwater. After the success of Mao Zedong's communist revolution in 1949, the authorities clamped down hard on Shanghai, castigating China's second city for its prewar status as a playground of gangsters and colonial adventurers. And so it was. In its heyday, the 1920s and '30s, cosmopolitan Shanghai was a dynamic melting pot for people, ideas and money from all over the planet. Business boomed, fortunes were made, and everything seemed possible. It was a time of breakneck industrial progress, swaggering confidence and smoky jazz venues. Thanks to economic reforms implemented in the 1980s by Deng Xiaoping, Shanghai's commercial potential has reemerged and is flourishing again. Stand today on the historic Bund and look across the Huangpu River. The soaring 1,614-ft/492-m Shanghai World Financial Center tower looms over the ambitious skyline of the Pudong financial district. Alongside it are other key landmarks: the glittering, 88- story Jinmao Building; the rocket-shaped Oriental Pearl TV Tower; and the Shanghai Stock Exchange. The 128-story Shanghai Tower is the tallest building in China (and, after the Burj Khalifa in Dubai, the second-tallest in the world). Glass-and-steel skyscrapers reach for the clouds, Mercedes sedans cruise the neon-lit streets, luxury- brand boutiques stock all the stylish trappings available in New York, and the restaurant, bar and clubbing scene pulsates with an energy all its own. Perhaps more than any other city in Asia, Shanghai has the confidence and sheer determination to forge a glittering future as one of the world's most important commercial centers. -
US-China Museum Directors Forum Press
News Communications Department Asia Society 725 Park Avenue New York, NY 10021-5088 AsiaSociety.org Phone 212.327.9271 Contact: Elaine Merguerian 212.327.9313; [email protected] E-mail [email protected] Asia Society To Bring Together American and Chinese Museum Directors at Forum in Hangzhou and Shanghai, November 19–21 Book Launch Event and Discussion for Making a Museum in the 21st Century To Be Held at Shanghai's Long Museum, November 19, 6:30 p.m. Asia Society will convene the second U.S.-China Museum Leaders Forum, a part of the U.S.- China Forum on the Arts and Culture and the Asia Society Arts and Museum Network, in Shanghai and Hangzhou, November 19–21, 2014, to continue a dialogue that began with the first such gathering in Beijing in 2012. Nearly thirty American and Chinese museum directors, as well as several American art foundation leaders and Chinese cultural philanthropists, will meet to discuss potential areas for partnership and projects for collaboration. Co-convened by Orville Schell, Arthur Ross director of the Center on U.S.-China Relations, Asia Society, and Melissa Chiu, director of the Hirshhorn Museum and Sculpture Garden, the U.S.-China Museum Leaders Forum aims to foster collaboration and exchange among museums in the two countries, first and foremost by enabling American museum leaders and their Chinese counterparts to connect on a personal level. The biennial Forum was initiated to address challenges faced by museums in China and ways to establish, operate, and sustain the thousands of new institutions the Chinese government plans to build in the next decade. -
PPT 0326 Julie Chun
China Art Museum (2012) Power Station of Art (2012) 2011-2019 Natural History Museum (RelocateD 2015) State & Liu Haisu Art Museum (ReloCateD 2016) Shanghai Museum of Glass (2011) Private art Long Museum PuDong (2012) OCAT Art Terminal Shanghai (2012) museums in Shanghai Himalayas Museum (2012) Aurora Museum (2013) Shanghai K11 Art Museum (2013) Chronus Art Center (2013) 21st Century Minsheng Art Museum (2014) Long Museum West BunD (2014) Yuz Museum (2014) Mingyuan Contemporary Art Museum (2015) Shanghai Center of Photography (2015) Modern Art Museum (2016) How Museum Shanghai (2017) Powerlong Art Museum (2017) Fosun FounDation Art Center (2017) Qiao Zhebing Oil Tank Museum (2019) SSSSTART Museum (under Construction) PompiDou Shanghai (unDer ConstruCtion) China Art Museum (2012) Power Station of Art (2012) 2011-2019 Natural History Museum (RelocateD 2015) State & Liu Haisu Art Museum (ReloCateD 2016) Shanghai Museum of Glass (2011) Private art Long Museum PuDong (2012) OCAT Art Terminal Shanghai (2012) museums in Shanghai Himalayas Museum (2012) Aurora Museum (2013) Shanghai K11 Art Museum (2013) Chronus Art Center (2013) 21st Century Minsheng Art Museum (2014) Long Museum West BunD (2014) Yuz Museum (2014) Mingyuan Contemporary Art Museum (2015) Shanghai Center of Photography (2015) Modern Art Museum (2016) How Museum Shanghai (2017) Powerlong Art Museum (2017) Fosun FounDation Art Center (2017) Qiao Zhebing Oil Tank Museum (2019) SSSSTART Museum (under Construction) PompiDou Shanghai (unDer ConstruCtion) Art for the Public Who is the ”public”? Who “speaks” for the public? On what authority? What is the viewers’ reception? And, does any of this matter? Sites for public art in Shanghai (Devoid of entry fee, open access to public) Funded by the city Shanghai Sculpture Space (est. -
Art Shanghai
WORDS DAVID ELLIOTT PLAYING TO THE GALLERIES While it may have become best known for its explosion of skyscrapers, Shanghai has also been busy building an impressive collection of contemporary art museums. ike Sydney and Melbourne, NYC and LA, and Delhi and Mumbai, Beijing and Shanghai have always competed with each other. As the capital, Beijing has the political Lstatus, but Shanghai has long been the commercial hub of China. In 2008, Beijing proudly presented the Olympic Games, but Shanghai was just as honoured to host the 2010 World Expo. Last year saw the topping out of the Shanghai Tower, China’s tallest (and the second highest in the world), but there are rumours that a new skyscraper in Beijing’s CBD will be even higher. China’s museum and gallery sector is no different. Beijing has claimed superiority, but now Shanghai is a very serious challenger, especially in the new growth area of private museums. Shanghai is huge – by most counts the biggest city in the world – and its art museums are spread out. Luckily, the city’s metro is excellent, so you can get to most of them by under- ground, and short taxi hops will see to the remainder. ❯ The Long Museum, PHOTOGRAPHY: GETTY IMAGES West Bund, Shanghai 82 QANTAS SEPTEMBER 2014 ART SHANGHAI CENTRAL SHANGHAI THE LONG MUSEUM IS ONE A good place to start is Shanghai Museum on People’s Square (201 OF THE BEST TO GAIN AN Renmin Avenue; 9am-5pm daily, free; www.shanghaimuseum.net/ en). Ugly on the outside, fantastic within, it provides a crash course UNDERSTANDING OF 20TH in China’s long cultural history including ceramics, bronze work, CENTURY CHINESE ART sculpture, painting, calligraphy, jade, seals, even furniture. -
An Arts Explosion Takes Shanghai
nytimes.com http://www.nytimes.com/2015/11/08/travel/shanghai-west-bund-museums.html An Arts Explosion Takes Shanghai In Shanghai, the historic Bund grabs much of the spotlight — the stretch of former banks and trading houses along the Huangpu River, built a century ago in a kaleidoscope of architectural styles, is a monument to the grandeur of another era. It can also be downright suffocating on weekends, with tourists jostling for selfie positions. For congestion-weary residents, another part of the riverfront now known as the West Bund has become a far more appealing place to spend the weekend. Here, a once-forlorn industrial area known for aircraft manufacturing has been transformed into a lush green corridor where Shanghainese come to ride bikes and skateboards, scale outdoor rock- climbing walls and, a rarity in this city, enjoy picnics on the grassy riverbank. And in the last two years, museums and galleries have also started popping up as part of the city’s plan to turn the West Bund into a world-class arts and culture hub, Shanghai’s answer to Museum Mile in New York or South Bank in London. The atrium at the Yuz Museum. Credit Qilai Shen for The New York Times On one end of the waterfront area, two massive industrial buildings have been repurposed and transformed into the West Bund Art Center , site of a new annual art fair, and the Yuz Museum, focusing on contemporary works. On the other end is another institution exhibiting a mix of classical antiquities and modern Chinese art, the Long Museum West Bund. -
Untitled 2013 2’35’’ 53
Bu katalog aşağıdaki sergi nedeniyle yayınlanmıştır. This publication is published to accompany the exhibition. ESSENTIAL MATTERS Çin Video Sanatı Moving Images from China Borusan Contemporary 4.04 - 23.08.2015 Kürator Curator Dr. Necmi Sönmez Koleksiyon Sorumlusu ve Küratöryel Uzman Collection and Curatorial Specialist Elif Akıncı Editör Editor Dr. Necmi Sönmez Kitap Tasarımı Book Design Yeşim Demir Proehl Grafik Tasarım Uygulama Graphic Design Application Didem Uraler Çelik Çeviri Translation Ayşe Draz Resim Hakları Photo Credits © Artists and Galleries Borusan Contemporary Baltalimanı Hisar Cad. Perili Köşk No:5 34470 Rumeli Hisarı/Sarıyer, İstanbul Türkiye [email protected] www.borusancontemporary.com Müze Direktörü Museum Director Güzin Tezcanlı Sanat Direktörü Artistic Director Kathleen Forde Kurumsal İletişim Corporate Communications Fulya Baran Yayım hakkı saklıdır. Bandrol Uygulamasına İlişkin Usul ve Esaslar Hakkında Yönetmelik’in istisnalarını düzenleyen 5.maddesinin 2. fıkrası uyarınca tanıtım ve bilgilendirme amaçlı olup bandrolden muaftır. All rights reserved. For Promotion and information Purposes and exempted from banderole in accordance with article 5 and paragraph 2 of Regulation Regarding Procedure and Principals of Banderole Practice. Miao Xiaochun Essential Matters Çin Video Sanatı ve Yeni Medya Sanatı Üzerine 4 Necmi Sönmez Çin’in en önemli şehirlerinden biri olan Şanghay’ın Pudong bölgesi (Resim 1), hem gece hem de gündüz vakti ziyaretçilerini mıknatıs gibi kendisine çeken bir atmosfere sahip. Bu eski liman kentinin 19. yy mimarisiyle şekillenmiş olan kolonyal kısmı (Bund) ile gökdelenlerin karşı karşıya durduğu Pudong arasında sadece Huangpu Nehri vardır. Pudong’un gökdelenleri geceleri özel ışıklandırmayla Fritz Lang’ın Metropolis filmini andıran bir karaktere (Resim 2) bürünüyor. Bund kıyısında yürümeye gelenlerin büyülenmiş gibi gözlerini gökdelenlerden ve görkemli ışık oyunlarından ayırmamaları bir tesadüf değil. -
Daniel Humm December 2017 December Issue144
ISSUE 144 THE ART ISSUE DECEMBER 2017 DANIEL HUMM DESTINATION DESTINATION complex in November, and British chef Jason Atherton is expected to open his second Shanghai restaurant inside The Edition hotel on East Nanjing Road by spring 2018. The blossoming culinary scene has been matched by a growing appetite for the arts. The West Bund has trans- formed into a breeding ground for the creative class, where some of the best- Shanghai curated museums and galleries have replaced the abandoned aircraft facto- ries from decades ago. It’s also the site of the annual West Bund Art & Design Fair, with the most recent edition showcasing works from 70 Chinese and international galleries. By 2019, the area will welcome an outpost of Centre Pompidou, which will occupy a gallery in the forthcoming West Bund Art Museum designed by British architect David Chipperfield. The collaboration between the renowned Paris modern-art institution and the West Bund Group—the mastermind and developer behind Shanghai’s own “Museum Mile”—will serve as an important symbol of cultural exchange between France and China. Also in the works is the Dream Center, an enter- tainment venture with ambitions to host Tinseltown-grade film premieres and world-class performing arts. Over in the M50 art district, construction on Heatherwick Studio’s “1,000 Trees” project—an expansive mixed-use development of homes, schools, and China’s most vibrant city to its position as a major port city since the world’s second tallest; the Kohn retail designed to resemble a 3-D for- the 19th century, Shanghai has always Pederson Fox–designed Shanghai est—is also underway. -
DING YI Born Shanghai, China, 1962 Lives Shanghai, China
DING YI Born Shanghai, China, 1962 Lives Shanghai, China EDUCATION 2001 Artist in Residence, Künstlerhäuser Worpswede, Worpswede, Germany 1990 BFA, Shanghai University, Fine Arts Department, Shanghai, China 1983 Shanghai Arts & Crafts Institute, Shanghai, China SOLO EXHIBITIONS 2015 Ivory Black, ShanghART Singapore, Singapore, Singapore 2014 Scintillement, Galerie Karsten Greve, Paris, France 2013 2013 Art Changsha, Changsha City Museum, Changsha, China 2012 Appearance of Crosses, Galerie Karsten Greve, St. Moritz, Germany 2011 Specific • Abstracted, Minsheng Art Museum, Shanghai, China Ding Yi: Appearance of Crosses, Galerie Waldburger, Brussels 2008 Ding Yi, Galerie Karsten Greve, Cologne, Germany Ding Yi, MAMbo, Galleria d'Arte Moderna di Bologna, Bologna, Italy Appearance of Crosses from 1989-2007, Museo d'Arte Moderna di Bologna, Bologna, Italy 2007 Ding Yi, Galerie Karsten Greve, Paris, France 2006 Graticule, Ding Yi's Works from 1989 to 2006, ShanghART H-Space, Shanghai, China 2005 Ding Yi, Ikon Gallery, Birmingham, UK 2004 Crossed Vision, Works by Ding Yi, China Art Archive & Warehouse, Beijing Small Works, ShanghART Gallery, Shanghai, China 2003 Ding Yi: Appearance of Crosses, Galerie Urs Meile, Lucerne, Switzerland 2002 Ding Yi: Appearance of Crosses, Galerie Waldburger, Berlin, Germany 2000 Ding Yi: Fluorescence Paint on Tartan, China Art Archive & Warehouse, Beijing 1998 Ding Yi: Crosses '89-'97, International Art Palace, Beijing 1997 Ding Yi: Crosses '97, Shanghai Art Museum, Shanghai, China 1996 15 x Red, New Works on Paper -
Contemporary Art and the Contemporary Art Museum: Shanghai and Its Biennale1
John Clark Contemporary Art and the Contemporary Art Museum: Shanghai and Its Biennale1 Prehistories No doubt there are varied and rich prehistories to modernity in the art worlds of many Chinese cities apart from Beijing—Tianjin, Nanjing, Chengdu/Chongqing—but it is in Shanghai in the 1850s and 1860s that a patronage culture, for art at least for guohua (traditional Chinese painting), began and continued into the 1910s. Imbricated within this patronage culture were intense artistic exchanges with Japan and Europe, from the 1860s to the 1930s, effected through sending Chinese artists abroad to study. There were also a number of Japanese artists who exhibited in China, particularly at the first National Fine Arts Exhibition, in 1929. At the same time, the advent of modernity, beginning in the 1920s, was associated with a broad consumer culture that articulated new desires and, in particular, new roles for women—producing a new culture of visual representation in contemporary magazines, cinema, and advertisements. Thus, from the mid-nineteenth century onward the urban space of Shanghai increasingly constituted a foreground for the modern in China. This was physically upended, if not entirely destroyed, during the murderous, politically myopic conflicts between Nationalists and Communists in 1927, and in the long, bloody struggle with the Japanese in 1932, which was followed by a pause and then continued as all-out war from 1937 to 1945. Even then the caesura was not complete, and the civil war lasted from 1945 to 1949. One of the problems with divorcing contemporary art from art history involves actual and potential types of modernity, some existing in parallel to, some in conflict with, each other. -
Contemporary Itinerary
contemporary itinerary Shanghai edited by Andrea Nastri, Giuliana Vespere biblio 153.indd 167 28/06/17 12:07 wusong rd haining rd changyang rd contemporary itinerary: Shanghai 22 HUANGPU INNER RING ELEVATED RD NORTH-SOUTH ELEVATED RD changyi rd yincheng rd INNER RING ELEVATED RD 23 wuning rd lujiazui ring rd pudong ave caoyang rd beijing rd 20 shimen 2nd rd 21 35 19 pudong rd 24 century ave 28 17 27 18 jinshajiang rd PEOPLE’S fuzhou rd yan’an e rd ningxia rd nanjing w rd PARK minsheng rd w suzhou rd 29 renmin ave 25 30 renmin rd zhangyang rd 34 yuanshen rd zhongshan east 2nd rd F S202 dingxiang rd wanhangdu rd pudong s rd changde rd huaihai middle rd dongfang rd henan s rd YAN’AN ELEVATED RD 26 16 jinxiu rd yingchun rd YANZHONG 31 33 ruijin 1st rd PARK fuxing e rd 15 32 13 changning rd jiangsu rd 14 fangdian rd FUXING PARK dingxi rd YAN’AN ELEVATED RD eshan rd huamu rd huamu rd huaihai middle rd lujiabang rd CENTURY PARK 36 12 guohuo rd nanchezhan rd fangdian rd G S122 11 huashan rd baiyang rd NORTH-SOUTH ELEVATED RD bansongyuan rd gubei rd G1501 S20 37 YAN’AN ELEVATED RD hongqiao rd 01 A B G15 S5 39 02 S20 INNER RING ELEVATED RD dapu rd 03 04 S202 S322 S6 WUZHOU AVE rihui e rd MIDDLE RING RD S5 05 06 longhua middle rd 07 E 08 ruining rd F D C 38 S125 40 H G G15 09 10 41 43 S20 42 JIAMIN ELEVATED RD G50 S124 45 MIDDLE RING RD 44 S20 G60 46 S20 G60 S227 I S32 48 47 mappa-shanghai.indd 168 27/06/17 18:35 wusong rd haining rd changyang rd 22 HUANGPU INNER RING ELEVATED RD NORTH-SOUTH ELEVATED RD changyi rd yincheng rd INNER RING ELEVATED -
Story of Twin Cities, Who Will Be the Next Storm Center of Art Fairs?
Sotheby's Institute of Art Digital Commons @ SIA MA Theses Student Scholarship and Creative Work 2019 Story of Twin Cities, Who Will be the Next Storm Center of Art Fairs? Rui Bian Sotheby's Institute of Art Follow this and additional works at: https://digitalcommons.sia.edu/stu_theses Part of the Arts Management Commons, Business Administration, Management, and Operations Commons, Business Analytics Commons, Business Intelligence Commons, Chinese Studies Commons, Contemporary Art Commons, and the E-Commerce Commons Recommended Citation Bian, Rui, "Story of Twin Cities, Who Will be the Next Storm Center of Art Fairs?" (2019). MA Theses. 32. https://digitalcommons.sia.edu/stu_theses/32 This Thesis - Open Access is brought to you for free and open access by the Student Scholarship and Creative Work at Digital Commons @ SIA. It has been accepted for inclusion in MA Theses by an authorized administrator of Digital Commons @ SIA. For more information, please contact [email protected]. Story of Twin Cities, Who Will be the Next Storm Center of Art Fairs? by Rui Bian A thesis submitted in conformity with the requirements for the Mater’s Degree in Art Business Sotheby’s Institute of Art 2019 13,866 words Story of Twin Cities, Who Will be the Next Storm Center of Art Fairs? By: Rui Bian Since 2000, with the rapid development of China's economy, the evolution of contemporary art fairs in China has been accelerated. This paper takes two representative cities, Beijing and Shanghai, as examples. In the past one decade, Shanghai and Beijing have respectively led the trend of contemporary art market due to various internal and external factors. -
XU ZHEN 徐震 (MADEIN) 1977 Born in Shanghai, China Lives And
XU ZHEN 徐震 (MADEIN) 1977 Born in Shanghai, China Lives and works in Shanghai, China KEY DATES 2013 Announcement of the brand ‘XU Zhen’ produced by MadeIn Company 2009 Formation of MadeIn Company SOLO EXHIBITIONS 2020 XU ZHEN®: ETERNITY VS EVOLUTION, National Gallery of Australia, Parkes, Canberra, Australia 2019 Xu Zhen: In Just a Blink of an Eye, Museum of Contemporary Art, Los Angeles, CA Galerie Perrotin, Hong Kong 2018 Xu Zhen, Galerie Perrotin, Seoul, South Korea Movement Field, James Cohan, New York, NY 2017 Civilization Iteration, Galerie Perrotin, Paris, France XUZHEN Supermarket (2007/2017), curated by Victor Wang, Sadie Cole HQ, London, UK 2016 Xu Zhen, James Cohan, New York, NY From Dada to Pop: Xu Zhen and MadeIn Company, CAEA, Sichuan Fine Arts Institute, Chongqing, China 2015 Xu Zhen, Kunsthaus Graz, Austria Xu Zhen Solo Exhibition, Long Museum, Pudong, Shanghai, China Movement Field, Walburger Wouters, Brussels, Belgium “20” New Paintings by Xu Zhen, PMQ, HongKong 2014 XU Zhen: A MadeIn Company Production, Ullens Center for Contemporary Art (UCCA), Beijing, China XU ZHEN in Artist Commission, The Armory Show, New York, U.S.A. Xu Zhen: Blissful As Gods, Space 2, ShanghART Gallery and H-Space, Shanghai, China ShanghART Supermarket, ShanghART Singapore, Singapore The Most Imporant Is Not The Contract, OCT, Shanghai, China Movement Field in Nanjing, Sifang Art Museum, Nanjing, China Careful Don’t Get Dirty, Waldburger Wouters, Brussels, Belgium Prey, Xu Zhen- Produced by MadeIn Company, Galerie Nathalie Obadia, Paris, France