2019年经济学人 中国当代艺术:沙丘博物馆(2)（在线收听）

The Dune’s interiors are meant to cultivate an intimacy between viewer, work and space. “Going to a museum in China often feels like going to a shopping centre,” says Mr Li—an experience of rushed consumerism, typically characterised by large crowds and smartphone selfies. By contrast, the Dune’s subterranean galleries invoke the caves in which the most primitive human art was first daubed. The design was inspired by Louis Kahn, a 20th-century American architect who envisaged museums as a “society of rooms”, which foster interaction and encourage people to slow down. Given the isolated location, visitors will have to make a deliberate “pilgrimage to the art”, as Mr Li puts it, rather than just a hurried urban fly-by. 

沙丘的内部设计旨在培养观众、工作和空间之间的亲密感。“在中国，去博物馆就像去购物中心，”李虎表示——这是一种匆忙的消费主义体验，典型的特征是大量人群和智能手机自拍。相比之下，沙丘美术馆的地下画廊让人想起最原始洞穴里被涂抹的人类艺术。该设计灵感来自20世纪的美国建筑师路易斯·卡恩，他将博物馆设想成一个“房间社会”，旨在促进互动，鼓励人们慢下来。考虑到这个位置人烟稀少，游客们将不得不进行一次深刻的“艺术朝圣”，正如李虎所言，这不仅仅是一次匆忙的城市飞掠。

“After Nature”, the inaugural exhibit (curated by Luan Shixuan), focuses on a pertinent subject: the future of humanity’s relationship with the natural world. Each of the nine contemporary Chinese artists in the show engages cleverly with the space that their work occupies. Visitors standing in front of Liu Yujia’s “Wave”, a digital diptych featuring aerial footage of waves rushing against the coast, need only to turn around to find themselves looking out at the Bohai Sea. Beyond a glass door lies Zheng Bo’s “Dune Botanical Garden”, a work of bio-art made of transplanted local weeds that also functions as a museum garden. Nearby stands “Destination”, an installation by Na Buqi, which comprises an overturned billboard advertising an eerily photoshopped beachside getaway.

“后自然”：UCCA沙丘美术馆开幕展（栾诗璇策划），关注相关的主题：人类与自然世界关系的未来。展览中的九位中国当代艺术家都巧妙地利用了其作品所占据的空间。刘雨佳的《海浪》是数码双联画，以海浪冲击海岸的航拍镜头为特色，游客驻足在《海浪》前，只要一转身，就可以眺望渤海。玻璃门外是郑波的《沙丘植物园》，这是由移植的本地杂草制成的生物艺术品，也可以用作博物馆的花园。娜布其的装置作品《终点》矗立在附近，作品包含一块翻倒的广告牌，上面登着一张经过美化过的海滨度假照片。

Ms Na’s contribution is a wry commentary on the museum itself. Its location, Beidaihe, is well-established as both a summer retreat for Beijing’s political elite and a popular beach resort for domestic tourists. Cranes crowd behind the dunes, supervising construction work by Aranya, a Chinese developer that also funded and built the museum. Much as the Dune wants to attract visitors, a big influx might threaten its sustainable vision: like that forlorn billboard, a picture-perfect ideal risks being compromised by the double-edged forces of consumption.

娜布其的贡献是对博物馆本身的映射。北戴河是北京政客精英的避暑胜地，也是深受国内游客欢迎的海滨度假胜地。沙丘美术馆后面都是起重机，由中国开发商阿兰亚监督施工，该公司也出资建造了这座博物馆。尽管沙丘美术馆很想吸引游客，但大量移民涌入可能会威胁到其可持续发展的愿景：就像那块被遗弃的广告牌，一个完美无瑕的理想可能会被消费的双刃剑所侵蚀。