48小时，8家机构，带你深入了解广东艺术生态圈。

2017年，珠三角有了一个新的名字，叫粤港澳大湾区。各种地产项目都开始拿湾区做文章。英文里，Bay Area最早指的应该是旧金山海湾，后来成为了通用语。湾区经济，作为重要的滨海经济形态，是当今国际经济版图的亮点，也被认为是世界一流滨海城市的标志。

在粤港澳大湾区，当代视觉文化的发展也伴随着经济腾飞而蓬勃富有朝气。中国南方独特而多元的人文风俗为创作者们提供了多样的创作母题与展示环境。在此，既有已深耕多年的文化培育者，也有推陈出新的创意新势力。艺术生态的土壤由诸多在地机构悉心灌溉，机构之间也看到联手合作可培育更旺盛的艺术生长力，打开更广阔的公众面向，引发更开放的对话与交流，并以此推动整体文化氛围的提升，支持更多创作者们的工作。

在去年的香港巴塞尔艺博会期间，深圳与广州的四家机构共同发起了“广东艺术行”的访问行程，为的是提供一个集中体验深广两地当代视觉文化的机会，并可以与相关机构的同仁们亲面交流。

今年，参与行程的机构扩展到了八家，两天一夜的访问行程安排在3月24-25日。这趟“广东艺术行”的服务也较去年更为丰满，包括专业的展览导赏、接送、餐饮及住宿预订服务。

▼▼镜花园 

行程的第一站是位于广州番禺四海马术园区内的镜花园。这个诗意的名字因它诗意的所在而名副其实。镜花园是一个不断生长的有机空间，其建筑设计师藤本壮介应主人的邀请，先后设计了展厅、厨房、项目、工作等功能空间，用到了当地的牡蛎贝、茅草、集装箱等材料。镜花园团队在过去数年间持续建造、完善，直至此次王音个展“友谊”的开幕，完满呈现了这组空间群落。池塘与菜园间的游鱼和植被，杯中的桔茶或热酒，都让这里存有暖心的美和留恋。是次展览的一大特别之处，在于展厅中全用自然光线。在这座窗外景色与建筑内部空间相互映照的展厅，王音画中的光线与其画所处的空间之光形成了跨时空却恒常的对话。据了解，每幅作品的位置，都是在观察、检索了相应的自然光线的强弱、时段后，几经调试而确定的。这也就是为什么，在其中一间展厅内，竟只展示了独一幅作品。所以把这里选作第一站，除了地理路线上的考虑，也是为了迎着充足的日间光线。

▼▼广东时代美术馆

在镜花园用过午餐后，即搭车前往位于黄边站的时代美术馆，约摸一小时车程。远远看去，位于时代玫瑰园高层住宅区顶端的时代美术馆就好像是天外飞来的UFO。荷兰著名建筑师、OMA创始人之一雷姆·库哈斯（与阿兰·弗劳克斯合作）是这个盒子的设计者。经侯瀚如引介，库哈斯得以了解上世纪末、本世纪初广东纷繁前沿的艺术实践，而大尾象、阳江组等来自广东的活跃艺术团体的作品也都在时代美术馆多次亮相。作为一座由商业地产兴办的美术馆，开馆已近八年的时代却以其独立清晰的当代艺术研究脉络与深入开展社区及公众教育活动著称。此次来访，不仅可以参观奥马尔·法斯特（Omer Fast）在大中华区的首次个展“看不见的手”，观赏近十年来艺术家的代表作品，还能在美术馆入口处的榕树头项目空间看到泰国艺术家陈业亮（Henry Tan）的驻地社区项目。

▼▼录像局

 

在享用一想到就会流口水的粤菜美食作为晚餐之前，还有一个地方要去。这是一家名为录像局的录像艺术档案馆，目前收录了73位艺术家的1300多件录像艺术作品，并以每年收录12位艺术家作品的速度不断增加。创办了博尔赫斯书店的陈侗也是其创办人之一。录像作品依据其创作者归类整理，来访者可在场馆内自助观看作品和相关资料，现场配备了DVD播放设备和内部研发的高清视频点播系统。三月最新收录的档案是郑国谷和段英梅的录像作品。虽然此行时间有限，但相信对录像艺术感兴趣的朋友肯定会暗暗预约下次再来的时间。

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杨锋艺术与教育基金会

 

晚上不建议熬夜，即便广州的东道主们总会围炉夜话到凌晨，因为第二天一早就需要从广州花园酒店出发前往深圳蛇口。蛇口，是从蛇口工业区时代遗留下来的名称，它坐拥深圳西海岸最美的海湾，也是中国改革开放的实验地。在由曾经的三洋厂房改造而成的创意园区南海意库中，收藏家杨锋于2015年创立杨锋艺术与教育基金会，致力于活化深圳当代生态，以有别于典型白盒子的多类场域作为艺术展览空间。在位于南海意库的有空间，基金会将举办年度展览——2017年卡塞尔文献展备受国际瞩目的希腊艺术家阿波斯托洛斯·乔治亚的个展“情景”。在这融合了办公室、居家与美术馆空间特质的展厅，具有幽默感的画面诉说着激发人们同理心的“情景”，层次丰富，意趣盎然。

 

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设计互联 | 海上世界文化艺术中心

从有空间沿着兴华路的林荫道步行穿过热闹的海上世界滨海餐饮休闲区，就来到了设计互联|海上世界文化艺术中心。这座毗邻女娲雕像的大公园拥有大片公共空间与玻璃幕墙，建筑师槇文彦赋予了它半室外的开放性，并以灵活联通的洄游动线欢迎来访者自由探索这座以设计为主题的新型文化与生活空间。设计互联的主办方招商蛇口，携手英国国立维多利亚与艾伯特博物馆（V&A）呈现了V&A在世界上的首座半永久展馆及其大型开幕展“设计的价值”，集中展示近300件V&A的馆藏，通过探讨设计与价值观的动态关系，浓缩500年来的设计与社会历史。与此同时，设计互联团队还为其主展馆策划了讨论数字化设计的国际大展“数字之维”，通过60件前沿艺术与设计作品，探索数字化对当今生活及人类未来的影响。如果时间允许，在去能听到海浪声的新媒体艺术主题咖啡厅補時享用美味午餐前，园景展馆槇文彦的建筑设计回顾展与设计互联商店中明和电机的快闪店也都很值得一逛。

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华·美术馆

 

来到深圳看艺术，总不能不去华侨城。燕晗山脚下，三十余年前的滩土成就了深圳创意文化园第一品牌，旧厂房建筑的改造映射出深圳城市历史与当下发展的共存。这里滋养了多届深港城市建筑双城双年展、深圳雕塑双年展等大型国际展览，也是OCAT全国艺术航站楼系列的起点。行程安排先在OCAT馆群中的设计馆——华·美术馆参观建筑与艺术群展“重构乌托邦”，汇聚了53组中国的建筑实践与艺术家创作，体现了对超速城市化的反思，以及对过度智能化与大数据垄断科技未来的批判。

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OCAT深圳馆

 

而在OCAT深圳馆的双个展“偌大空间”，展出了崔洁参照勒·柯布西耶的未完成作品“富埃特教授的别墅”的空间布景装置与绘画新作，以及李杰的《我不知道我已经死了》。李杰利用错位的投影与被稀释和叠加的颜色，调度空间中的光线与尺度，加上在他的创作中不可或缺的声音，编织出可令人沉浸其中的个人维度。

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蜂巢当代艺术中心

 

赶赴香港前的最后一站——蜂巢（深圳）当代艺术中心——也将为此次的广东艺术行画上句点。同样位于OCT华侨城创意园内，蜂巢展出的是常驻深圳的艺术家梁铨个展“坐看云起：梁铨创作风格与流变”。梁铨是文革后首批留学国外的当代艺术家，也是最早从事抽象创作的中国艺术家之一。展览以时间为序分单元呈现，汇聚了运用重彩、茶点、条纹、重墨、格子等不同绘画语汇的作品，并与文献并置，突显了艺术家持续演进且自成一体的创作风格。

 

啰嗦行文至此，希望看到此处的人，也已做好了预约此次行程的打算。所以在文末，还容笔者再多唠叨几句报名的注意事项，敬请留意：

1. 此次行程的住宿费用需要您自行承担，酒店由主办方统一为您预订，广州花园酒店的协议价已标注在报名表中。
2. 主办方将提供覆盖此次行程的全部接送服务(包括广州接机服务)，活动集合地点分别为香港和广州两地，解散地为香港国际会展中心。
3. 主办方会提供两天的午餐与一天的晚餐，如您有特别的餐饮要求，亦请您在报名表中注明。
4. 报名成功后，您将收到我们的确认函。如您需要取消预订，请您最晚于21日中午前告知，以便将名额留给其他访客。

好了，名额有限，欢迎点击“阅读原文”或复制网址 http://cantonarttrip.org 访问活动网站，了解详情并填写报名表。报名表需发送邮件至rsvp@timesmuseum.org，如有任何疑问，亦可来信咨询。

2018广东艺术行，期待与您同行。

 

/ Gu Ling, translated by Fiona He

 

Last year, the Pearl River Delta was given a new name, the Guangdong-Hong Kong-Macau Greater Bay Area. All kinds of real estate projects designed marketing strategies on the notion of the “Bay Area”. In English, the term was first used to describe the one in San Francisco and its surrounding satellite cities, which later became popular lingua franca. The economy of this Bay Area, as a critical economic model, is a highlight in today financial domain. It also aspires to become a landmark among the world’s first-class coastal cities.

 

With the thriving economy in the Guangdong-Hong Kong-Macau Greater Bay Area, the development of contemporary visual arts and culture is on the rise with exuberant vitality. The unique and diverse cultures and customs in Southern China have provided the creative individuals with a multitude of artistic impetus and exhibition platforms. Among them, there are seasoned art educators who have worked in this field over the years, as well as the new forces that push for innovation. This artistic ecology is nurtured by many local institutions, and among them, their collaboration in cultivating more exuberant artistic force, openness to a wider audience, and stimulation for more open dialogues and exchanges improve the overall cultural environment by providing support for the creative forces.

 

During last year’s Art Basel Hong Kong, four art institutions in Guangzhou and Shenzhen launched a day-trip, the “Guangdong Art Trip” in order to provide an opportunity for the art community to experience visual culture in the cities of Guangzhou and Shenzhen, where exchanges of ideas and conversations with other art professionals could take place face to face.

 

This year, the participating institutions have increased to eight, and this two-days-one-night trip is planned for March 24 to 25. For this year’s edition, our program has become more diverse, which includes professional art exhibition guide, transportation, food and beverages as well as helping you make hotel reservations.

 

The first stop on the trip will bring you to Mirrored Gardens, located in the Quadrant Land in Panyu, Guangzhou. As you will see, its poetic environment definitely lives up to its lyrical name. Mirrored Gardens is an organic art space that continues to grow. Upon the invitation of the space owners, Sou Fujimoto designed the buildings in the order of exhibition space, kitchen, to the functional spaces of project rooms and offices. In Fujimoto’s design, he incorporated local materials such as oyster shells, thatch, shipping containers and etc., into this enclave. Over the years, the team at Mirrored Gardens has further built and embellished the details until the opening of Wang Yin’s recent solo exhibition “Friendship”, where this architectural ensemble revealed its wonder in full. The fish swimming in the pond and the vegetation grown in-between the garden, the citrus-scented tea from one’s glass or the hot wine, together bring warmth and pleasure to this place. For this exhibition, the galleries have only used natural lighting to illuminate the spaces. As the sceneries outside of the window and the architectural space on the inside resonate the light represented in Wang Yin’s paintings and the light where he first painted them come into a cross-spatial yet eternal dialogue. Apparently, the position where each painting is placed was determined from observing and testing the luminosity of the surroundings based on different times of the day and other factors. This is why there is only one painting in one of the galleries. Besides the geographical location of the space, the reason for choosing Mirrored Gardens as our first stop is to tailor to the best daytime lighting for viewing these works of art.

 

After having lunch at Mirrored Gardens, we will arrive at Guangdong Times Museum at Huangbian Station within an hour’s drive. From a distance, the museum which situates itself on the top floor of the Rose Garden community looks like a landed UFO. The designer is Rem Koolhaas (in collaboration with Alain Fouraux), the renowned Dutch architect and founder of OMA. Under Hou Hanru’s introduction, Koolhaas was able to see the diverse and pioneering artistic practices in Guangdong since the end of last century. In turn, active artist groups in Guangdong, such as the Big Tail Elephants Working Group, the Yangjiang Group have got the chance to present their works at the museum.  As an art museum founded by a commercial real estate company, Times Museum, nevertheless, takes a path of distinctive and independent research on contemporary art, and shows commitment to the developing of education programs for the public local community. During our trip, not only will we visit “The Invisible Hand”, Omer Fast’s first solo exhibition in China, and his representative works over the last decade, but also Banyan Commune at the museum’s entrance, where Thai artist Henry Tan’s residency project is currently exhibited.

 

Before you enjoy a mouthwatering Cantonese meal at dinner, there is one more place to visit. Video Bureau houses the archives of video art, and by far it has collected more than 1300 video artworks by 73 artists. This organization will continue to grow at a rate of adding 12 artists’ archives per annum. Chen Tong, the founder of Libreria Borges is one of its founders. The video artworks are archived according to the artists, and visitors are able to browse through the archives, view any work at the viewing stations equipped with DVD players or using the high-definition video-on-demand system developed internally on a self-served basis. New archival materials by artists Zheng Guogu and Duan Yingmei are made available for the month of March. Due to the time constraints of this trip, we hope for those who are interested in video art would make appointments for your next visit.

 

It’s not recommended to stay up late, although the hosts from Guangdong would often talk into the wee hours of the morning. We will have to bear an early departure on the next morning from the Guangzhou Garden Hotel for Shekou, Shenzhen. Shekou, is a name remnant of the time of Shekou Industrial Zone.  Located on the most beautiful port of the western seacoast of Shenzhen, it has been an experimental site for China’s Economic Reforms. At Nanhai E-Cool Creative Park, an area renovated from the former Sanyo factory, is where art collector Frank F. Yang had founded the Frank F. Yang Art and Education Foundation in 2015, an institution that aims to revitalize the contemporary ecology in Shenzhen. Its diverse venues as their exhibition spaces take on approaches different from the typical white cube.  You Space at Nanhai E-Cool is where the foundation hosts its annual exhibition, “Situation” by Greek artist Apostolos Georgiou. The artist has received international attention on the 2017 Kassel Documenta. The exhibition space integrates the qualities of the office, living space, and art museum space, and looking at these humoristic imageries would certainly stimulate people’s empathy to these “situations” from their rich layers and intrigues.

 

We will follow along the shaded pedestrian walk on Xinghua St. from You Space and pass through the bustling food court of Sea World to reach Design Society | The Sea World Culture and Arts Center. This enormous park is the neighbor of the landmark Nuwa sculpture that includes large areas of public space and glass walls. Its architect Fumihiko Maki has provided the building its openness by constructing a semi-exterior space. The use of fluid lines welcomes its visitors to explore freely in this design focused new cultures and living space. Design Society, established by China Merchants Shekou with the Victoria and Albert Museum presents the world’s first semi-permanent exhibition center and its large-scale exhibition, “Values of Design”, displaying more than 250 pieces of design from its collection. By exploring the relationship between design and values, the exhibition puts together the history of design and society over the last five hundred years. At the same time, the Design Society team has also curated the international exhibition “Minding the Digital” to address issues of digital design. Its 60 works of cutting-edge art and design explores the impact of digitization on our everyday life today and humanity in the future. If time allows, before we head over for lunch at the new-media themed EXTRA TIME café where one can hear the sound of the ocean waves, the retrospective exhibition of Fumihiko Maki’s architectural designs is also on view at the Park View Gallery, as well as the pop-up shop by Maywa Denki at the Design Society Store is also worth visiting.

 

One has to visit OCT if one were to visit art in Shenzhen. At the foot of the Yanhan Mountain, this first branding success of Shenzhen’s creative cultural park was first build on sandy ground thirty years ago. The renovations on its former factory architecture project the co-existence of Shenzhen’s urban history and its current development. This is the site where many earlier editions of the Urban and Architectural Bi-City Biennale (UABB), Shenzhen Sculptural Biennale and other large-scale international exhibitions took place. It is also the starting point of  OCT Contemporary Art Terminal (OCAT)  that has then extended to other parts of the country. Our itinerary includes a visit to the OCT Art & Design Gallery for the group exhibition “Reconstructing Utopia –Architecture and Art Exhibition”, which brings together 53 sets of Chinese architectural and artistic practices, reflecting on rapid urbanization, the exploitation of artificial intelligence, as well as the monopoly on big data technology. And the dual solo show at OCAT Shenzhen, “The Enormous Space” presenting artist Cui Jie’s unfinished installation “Maison Fueter” in reference to Le Courbusier and her new paintings, and Lee Kit’s solo, “I didn’t know that I was dead”.  Lee Kit adopted overlapping projections and diluted colors to manipulate the light and dimensions of the space, in addition to his indispensable sonic aspect in his practice, he’s generated a personal dimension where one may become fully immersed.

 

As the last stop before Hong Kong, Hive Center for Contemporary Art (Shenzhen) will mark a wonderful ending for this trip. Situated in the OCT art district, Hive Shenzhen is exhibiting Watching the Clouds Go By: Liang Quan’s Creative Style and it’s Changes. Born in 1948, Liang Quan currently lives and works in Shenzhen, he is among the first group of Chinese contemporary artists who studied abroad after the Cultural Revolution, also one of the first Chinese artists to work on abstraction. The show will present Liang’s representative works over the last 40 years, including his works of the early years (1970 ’s), works from the period of “heavy color” (1985-2000), the period of  “emptiness” (2000-2015) to the recent pieces, together to present a comprehensive view of his aesthetics and artistic practice.

 

 

With all the talks aside, we hope by now you delightly intend to make reservations for this trip. And before you do so, please allow us bring to your attention with the following tips:

 

1. Accommodation is not subsidized by the organizers. Hotel reservations can be made by the organizers at the Guangzhou Garden Hotel at a discounted room charge marked in the application form.
2. The organizers will provide transportation for the entirety of this trip (including airport pick-up in Guangzhou). The departures of this trip are in Hong Kong and Guangzhou and ends at the Hong Kong Exhibition Center.
3. The organizers will provide the lunches and one dinner over the two-days trip, should you have any dietary request, please remark in your application.
4. Once the organizers have successfully received your application, you will receive a confirmation letter. Should you have to cancel your reservation, please notify us before NOON, on March 21^st, in order to leave seats for other visitors.

 

Well, since availability is limited, please visit http://cantonarttrip.org/ for further information and fill out the application form. Your applications should be sent to rsvp@timesmuseum.org. Should you have any questions, please do not hesitate to contact us.

 

We look forward to welcome you!

 

2018 Guangdong Art Trip