在中國 商場藝術展覽正在成爲潮流

Inside the K11 Art Mall, an elevator ride away from Burberry, Chloé, Balenciaga and other high-end shops, hundreds of people line up each day to see very different kinds of luxury items on display. An exhibition of 40 paintings by Claude Monet, billed as the largest-ever show of the Impressionist’s work in China, opened in March in a basement gallery space of this retail magnet. On a recent Sunday, 600 people at a time filled the two rooms of the gallery space to see “Monet: Master of Impressionism,” on view until June 15.

在K11購物藝術中心裏，一部升降梯途經博柏利(Burberry)、蔻依(Chloé)、巴黎世家(Balenciaga)和其他高端店鋪，每天載着成百上千人去排隊觀看各種非常不同的奢侈品展示。這個誘人的商場裏有一個地下藝術館，今年3月，克勞德·莫奈(Claude Monet)的40幅畫作在那裏展出，號稱是中國史上最大的印象派畫展。不久前的一個週日，一度有600個人擠滿了藝術館的兩個展廳，觀看這個“莫奈：印象派大師”(Monet: Master of Impressionism)展，該展覽持續到6月15日。

The approximately 300,000-square-foot art mall opened in May 2013, and it’s not the only one. Many malls in China now make art-viewing part of the shopping experience, with some devoting themselves equally to exhibiting art and selling merchandise.

這個購物藝術中心約佔地30萬平方英尺，於2013年5月開業，它不是唯一的一家。現在中國的很多購物中心把藝術欣賞作爲購物體驗的一部分，有些購物中心在展示藝術品和銷售商品方面同樣用心。

The K11 Art Foundation claims to have pioneered the concept, known as museum-retail: Each of its art malls have an in-house team that programs the gallery’s offerings and coordinates how other work appears throughout the building.

K11藝術基金會聲稱自己開創了這個被稱爲“博物館-零售”的概念：它的每個購物藝術中心都有自己的團隊，策劃藝術館的展覽，協調整個建築裏所有其他物品的展示方式。

As art and commerce mix in China, this art-retail concept has become a formidable trend in shopping-happy Shanghai. Here, art is used as a marketing tool to lure shoppers away from competitors. Those at the helm also see such exhibitions as viable forms of art education in a country where access to art can be limited to the rich and malls are destinations for young people and a new generation of wealthy women.

在中國，藝術和商業是結合在一起的，所以這個“藝術-零售”的概念在購物天堂上海成了一股強大的潮流。在這裏，藝術變成了市場推廣、吸引顧客的手段。掌控大局的那些人也把這些展覽看做藝術教育的可行方式，因爲在這個國度，只有富人才能接觸藝術，購物中心是年輕人和新一代富有女性的目的地。

K11 Art Foundation, a nonprofit organization registered in Hong Kong, showcases around 20 works by emerging Chinese artists and blue-chip staples at each of its two K11 Art Malls in Hong Kong and Shanghai, along with holding regular exhibitions. At the top of an escalator at the Shanghai mall, a Damien Hirst sculpture of a naked, headless pregnant woman greets shoppers. Near an organic cafe, an interactive video work by the Shanghai art collective island6 plays a loop of a woman pacing with shopping bags.

K11藝術基金會是在香港註冊的一個非營利組織，它在香港和上海開設了兩個K11購物藝術中心，分別展示了中國新晉藝術家和世界藝術大師們的約20件作品。在上海K11的扶梯頂端，達米安·赫斯特(Damien Hirst)的無頭裸體孕婦雕塑在歡迎顧客們。在一個有機咖啡店附近有上海藝術團體六島創作的互動視頻作品，循環播放一個拿着購物袋昂首闊步的女人。

Over the coming five years, K11 aims to open iterations of its museum-retail centers across China — in Beijing and Guangzhou, and in rapidly developing cities like Shenyang, Tianjin, Haikou, Ningbo and Guiyang. Two will open in Wuhan.

在接下來的五年裏，K11計劃在中國各地開設更多這樣的“博物館-零售”中心——北京、廣州以及一些快速發展的城市，比如瀋陽、天津、海口、寧波和貴陽。武漢將開設兩家。

Usually the shows are free, but for the Monet show, tickets cost 100 renminbi, about $16, to offset the cost of shipping, handling and security for the works, which have been loaned by the Musée Marmottan Monet in Paris. After leaving the show, visitors can buy ephemera like framed posters of water lilies at a gift shop.

展覽通常是免費的，但是莫奈展覽的門票是100元人民幣，約合16美元，用以彌補運輸、處理和安保的成本。這些作品是從巴黎的馬蒙丹·莫奈博物館(Musée Marmottan Monet)借來的。看完展覽後，遊客們可以在禮品店裏購買帶框的睡蓮海報等小物件。

The works on view at K11 are not meant to be for sale. Other art malls, however, tack on the dressings of the museum or gallery experience by adding rentable gallery space or staging sporadic mall-wide exhibitions in collaboration with artists, curators or galleries, sometimes making works available for purchase.

K11展示的作品不是用來銷售的。不過，其他購物藝術中心在博物館或畫廊體驗上添加了可供租賃的展覽空間或者在整個購物中心進行的不定期展覽，與藝術家、策展人或畫廊合作，有時作品可供購買。

K11’s first mall opened in 2009 in Hong Kong, the hometown of its founder and chairman, Adrian Cheng. Retail-empire building runs in his family: His grandfather is the jewelry-store mogul Cheng Yu-tung, one of the richest people in Hong Kong. Mr. Cheng, an avid art collector who was educated in the United States, started the foundation in 2008 after moving to China.

K11的第一個購物中心2009年在香港開業。香港是它的創始人、主席鄭志剛的故鄉。他的家族建立了一個零售帝國：他的祖父是珠寶大亨鄭裕彤——香港最富有的人之一。鄭志剛是個熱心的藝術收藏者，在美國接受教育，2008年回中國後開設了這個基金會。

“At that time, China was like the Great Gatsby,” he said in Hong Kong, where he organized a show of Zhang Enli paintings under the K11 banner during the Art Basel show there.

“那時候，中國就像《了不起的蓋茨比》(Great Gatsby)裏的情形，”鄭志剛在香港說。香港巴塞爾藝術展期間，他以K11的名義組織了張恩利畫展。

He said his malls provided education, like tours and lectures, about new Chinese artists and art in general. “I have the resources,” Mr. Cheng said, adding, “Chinese audiences, or even Western audiences, are not really sure what’s going on with contemporary emerging Chinese artists.”

他說自己的購物中心就像巡演或講座，提供關於中國新晉藝術家和所有藝術的教育。“我有資源，”鄭志剛補充說，“中國觀衆，甚至包括西方觀衆，並不真的知道中國當代新晉藝術家們在做什麼。”

Mr. Cheng’s foundation often supplies its two art malls with work from its two K11 Art Villages, in Wuhan and Guiyang, where Chinese artists can apply for residencies. Just before the Monet exhibition, the gallery space held a show produced by artists at these villages. Within the mall itself, Eric Chan, K11’s director of operations in south China, said the focus was on creating a “nonthreatening setting” for viewing art.

鄭志剛的基金會通常爲自己的兩個購物藝術中心提供武漢和貴陽的兩個K11藝術村的作品，中國藝術家們可以在這兩個藝術村申請住所。在莫奈展覽之前，該藝術館舉辦了這兩個藝術村的藝術家們的作品展。K11的南中國區營運總經理陳健豪在購物中心裏說，重點是創造一個“沒有威壓感的”觀賞藝術的“環境”。

“A lot of people in China think that art is for very rich people and get intimidated,” Mr. Chan said. Galleries aim to attract 25- to 50-year-old women — “the sophisticated lady,” he said — with children’s art classes and collaborations within stores. The MaxMara store at the mall, for example, exhibited works by three Chinese artists that all used the brand’s signature coat.

“在中國，很多人認爲只有富豪們才能享受藝術，對藝術感到畏懼，”陳健豪說。藝術館意在用兒童藝術課堂以及與店鋪的合作項目吸引25歲至50歲的女人——他稱她們爲“成熟的女人”。比如，購物中心裏的麥絲瑪拉(MaxMara)店鋪展示了三位中國藝術家的作品，他們都用了該品牌的標誌性大衣。

Other malls in Shanghai have begun to capitalize on the publicity that high-profile exhibitions can bring. Last fall Jing’an Kerry Center, a chain throughout the city, held a 25-year retrospective of photography from Elle China; LVMH’s L’Avenue held an exhibition of works by the conceptual artist Xu Zhen last year; and in November the new IAPM Mall threw an exhibition opening for David LaChapelle’s photographs of the new line of Tod’s handbags.

上海的其他購物中心也開始利用備受矚目的展覽帶來的宣傳。去年秋天，靜安嘉裏中心——該中心在上海有幾個連鎖店——舉辦了《Elle》中國版的25年攝影回顧展；去年路威酩軒(LVMH)集團的L’Avenue商場舉辦了概念藝術家徐震的作品展；去年11月，新的上海環貿IAPM商場爲大衛·拉切貝爾(David LaChapelle)的Tod’s新系列手袋攝影展舉辦了一個開幕式。

“Contemporary art in China is categorized within the realm of luxury goods,” said Mathieu Borysevicz, the founder and director of BANK gallery in Shanghai, who has worked in the Chinese art world since the 1990s. “Now the malls themselves have taken the initiative to embrace contemporary art. Of course what starts out as grossly superficial may, hopefully, lead to sincere interest in the future.”

“中國當代藝術被歸屬於奢侈品範疇，”上海BANK畫廊的創始人、總監馬蒂厄·柏利塞維茲(Mathieu Borysevicz)說。他從20世紀90年代起在中國藝術界工作。“現在購物中心主動歡迎當代藝術。當然，一開始看起來很膚淺的活動將來有可能帶來真誠的興趣。”

Not all the shows are tied to fashion. On May 30, Réel Shanghai Department Store opened an exhibition titled “In and Out” with works by artists from ShanghART, one of the city’s premier galleries. The monthlong exhibition focuses on installations best served by the large space, like a small aircraft mounted on wheels by Shi Yong, whose work encompasses photography, performance art and installations.

不是所有的展覽都與時尚有關。5月30日，芮歐(Réel)百貨上海公司開幕了一個名叫“藝想天開”(In and Out)的展覽，展示的是香格納畫廊的藝術家們的作品。香格納畫廊是上海的頂級畫廊之一。這個爲期一個月的展覽主要展示大型空間最擅長展示的裝置作品，比如施勇的一個安裝在輪子上的小型飛行器。施勇的作品包括攝影、行爲藝術和裝置作品。

The painter and installation artist Han Feng’s floating city of parchment paper is featured, as is work by Xu Zhen, who produces pieces with a company of around 30 people under his name.

這個展覽中的其他一些重要作品包括畫家、裝置藝術家韓鋒用羊皮紙做成的漂浮城市和徐震的作品。徐震和他名下的一個約30人的公司一起創作作品。

The opening also inaugurated a new gallery space on the top floor of the mall.

這個開幕式還同時爲該商場頂層的一個新的展覽空間揭幕。

The idea of an exhibition at the mall, located at the busy Jing’an subway stop, intrigued ShanghART’s director, Lorenz Helbling. “Art needs to be shown to the public,” said Mr. Helbling, who founded the gallery in 1996. “As long as it is done honestly and with respect to the art and artists.” He said that in Shanghai, mixing art with commerce was not just a trend, but a tradition: One of the city’s first major contemporary art exhibitions, “Art for Sale” in 1999, was staged in a shopping center.

在繁忙的靜安地鐵站的購物中心舉辦展覽引起了香格納畫廊的總監何浦林(Lorenz Helbling)的興趣。“藝術需要被展現給公衆，”何浦林說。他1996年創立了該畫廊。“只要它（展覽）是誠懇的，是尊重藝術和藝術家的。”他說，在上海，藝術和商業的結合不只是個潮流，也是個傳統：這座城市的第一個重要的當代藝術展覽“待售的藝術”(Art for Sale)1999年在一個購物中心舉辦。

Inside the Monet exhibition, Mr. Chan, K11’s director of operations, pointed out a painting of the bridge in Giverny. It closely resembled Monet’s “Le Pont Japonais” (The Japanese Bridge), which was sold to an Asian bidder at Sotheby’s in New York on May 7 for $15.9 million.

在莫奈的畫展上，K11的營運總經理陳健祥特別提到一幅吉維尼的橋的油畫。它很像莫奈的《日本的橋》(The Japanese Bridge)，那幅畫5月7日在紐約蘇富比的拍賣會上以1590萬美元的價格賣給了一位亞洲買家。

“We have a lot of collectors visit,” Mr. Chan said, smiling. “We wonder: Maybe he was inspired by our exhibition?”

“有很多收藏者來訪，”陳健祥微笑着說，“我們在想：也許他是受到我們展覽的鼓舞而來的？”