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上海M50艺术区,何浦林坐在自家画廊二楼的会议室里,这位浸淫于中国当代艺术二十栽的瑞士人,访谈期间一直烟不离手。谈及艺术和画廊发展的各类话题,他那带有异国腔调的普通话时而迟缓时而斩钉截铁,但所言都诚恳实在作为香格纳画廊的掌舵人,何浦林常年在艺术家工作室和各种展会之间奔走,如他自己所言“我理解中国艺术的方法就是不停地看。我不一定懂作品,但我会去看艺术家是不是有自己的系统”。这或许也是何浦林选择合作艺术家的标准。从1996年波特曼酒店的“走廊展厅”到如今上海、北京、新加坡三地空间的新格局,香格纳画廊正持续着自己的国际化转型和升级,摊子越来越大,艺术家越来
He Mulin, Shanghai’s M50 Art District, sits in the conference room on the second floor of his gallery. The Swiss, who has been immersed in the 20-year-old Chinese contemporary art, has been smoking during the interview. Turning to the various topics of the development of art and galleries, his Mandarin with exotic accent is sometimes slow and time-limited, but the words are honestly at the helm of the ShanghART gallery. He is in perennial artists’ studios and exhibitions Running around, as he himself said “I understand the art of China is to keep watching .I do not necessarily understand the work, but I will see whether the artist has its own system.” This may also be Ho Pu Lin choice of cooperative artists standards. From the 1996 Portman Hall’s “Corridor Hall” to the new spatial pattern of the three places in Shanghai, Beijing and Singapore, the ShanghART Gallery is continuing its international transformation and upgrading with more and more booths. Artists More and more