登录注册|收藏本站99首页|新闻|展览|拍卖|收藏|专栏|特色|人物|书画|机构|出版|版画|招聘|上海站|成都站|English
99视频专访||泰特亚太藏品购置委员会联合主席吉恩·舍曼:公众教育可以做得更社交化
0条评论 2016-11-22 13:01:31 来源:99艺术网 

2016年6月17日,泰特现代美术馆新馆“开关室”(Switch House)正式向公众开放,加上此前的“锅炉房”(Boiler House)和“涡轮大厅”(The Turbine Hall)一起构成了当今的泰特现代美术馆。

\
6月开馆的泰特现代美术馆新馆

而在新馆中,展出的75%作品是新的藏品。如此大的收藏体系,均来自泰特美术馆背后有一个庞大的资助人网络,这些资助人组成了泰特的诸多藏品购藏委员会,包括青年资助人理事会、泰特资助人理事会、国际理事会及其多个国际委员会。委员会的贡献并不仅仅通过各自的交际圈为美术馆提供资金和协助,他们还以自身专业能力对泰特藏品体系进行补充和筛选,将美术馆推向更高的领域。来自澳大利亚的吉恩·舍曼(Gene Sherman)便是隶属亚太地区委员会的联合主席之一。

在前几日所举办的“第四届中国民营美术馆论坛(CPAMF)”上,对于当下中国民营美术馆所存在的部分问题,如“近年来,中国民营美术馆如井喷般增长背后所存在的忧患”、“美术馆展览的同质化”、“公共教育的单一性”,吉恩·舍曼发表了自己的看法:

(以下为视频采访整理的文字)
 
\
澳大利亚民营美术馆之一 位于悉尼的白兔美术馆
 
澳大利亚和英国一样大多数美术馆都是政府资助的。澳大利亚有不同的州,每个州政府会资助旗下的美术馆(不同的州立美术馆)。这些年,这些公立美术馆有时也需要民间的资助,但目前主要是通过政府资助。如今,澳大利亚共有6家民营美术馆,悉尼有两家,其它的都分布在塔斯马尼亚、墨尔本和其它一些地区。它们的运营模式都有所不同,每家美术馆会根据赞助人的理念来举办展览和收藏。
 
民营美术馆的繁荣绝对是一件好事。我们生活在一个全球化的时代,所以我认为中国的民营美术馆可以和西方美术馆建立相似的管理体系的同时双方进行互相学习借鉴,多沟通交流,不能各自为营。
 
如今,中国很多民营美术馆有着类似的体系,各美术馆很难建立多元化和差异化。因此引进国外展览,加深合作是非常重要的,这将极大的提高美术馆展览的多样性。而对于中国的民营美术馆,一些可以去关注于整个泛亚洲艺术;一些可以去关注中国不同时期的艺术;另外一些可以关注中日艺术等等……努力去寻找与其它美术馆保持差异性的方法。
 
\
澳大利亚国家美术馆
 
拿我自己的经历来说,之前我将中国策展人邀请至澳大利亚,并同时邀请当地的策展人和美术馆人员参加到在堪培拉的澳大利亚国家美术馆为期三个月的展览项目中,最后中国成员将整个展览项目的成果带回到了中国,对于中国来说,这个展览便是一个独一无二。这不仅解决了美术馆间的差异化,也为美术馆打开了不同的视野。
 
再说到公众教育,我自己的艺术基金(舍曼艺术基金会)将其称之为关于公众项目的文化和理念。我们有不同的侧重,会区分儿童、青少年、成人、普通大众和专业人士来分别对待。每个类别有着不同的教育模式。因为不同人群需要不同的方式和不同的专业知识,不能笼统的让整个公众教育部门去对待儿童和专业人士。
 
对于儿童,我们会提供烹饪课程,根据每次展览的不同,提供相应展览对应国家的烹饪课:如果我们展览的是中国艺术家的作品,那我们也许会有四川菜的课程。如果参展艺术家是日本人,就有日本大厨教孩子们烹饪。因为青少年要忙着准备学校的考试,我们就要将相应的公众教育部分做的更有趣,比如可以是加入了音乐,将公众教育做得更社交化一些,而不是枯燥的讲座等等。对于成年人,就采取讨论或者邀请专家演讲的形式,或是学术会议。会议本身不一定要和展览主题绝对相关,它可以是更具有普遍性的主题。如果我们有中国艺术家的关于肖像画的展览,那我们的主题可以是关于肖像的,不一定是中国肖像,也许可以是18世纪英国的肖像,或者人们为什么喜欢画肖像?或者人们为何对肖像画如此感兴趣等等。这样便能使公共教育以不同的方式去吸引各层面的观众。
 
据悉, 在2017年泰特美术馆除了本馆的收藏常规展以外,也将举办包括大卫·霍克尼、沃尔夫冈·蒂尔曼斯、理查·怀特瑞德、艾米莉亚和伊利亚·卡巴科夫、法赫雷尼萨·扎伊德、阿尔贝托·贾科梅蒂、阿米地奥·莫迪里亚尼等富有影响力的现当代艺术家的大型个展和主题鲜明兼具时代特征的多国艺术家群展。
 
(采访视频英文原文文字)
In Australia,like in Britain, most of the museums have been government founded
they were founded by the Federal government, the main government. 
And also Australia has different states, and each state government has museum as well. 
Nowadays, these public founded museums need private support as well. 
So they are government founded with sponsors adding to their budget. 
Now there are 6 purely private are museums in Australia.
Two in Sydney and the rest are scattered in Tasmania and Melbourne and other places.
They all work differently, each one works according to the personality and interests of the founder of the museums
I think it’s a good thing definitely
But we live in a globalized world 
And China is a very big country with a huge population
I think it’s very important that Chinese private museums establish similar structures to the western private museums
And western private museums adapt to the Chinese private museums
So it’s a very good meeting point between the two
Otherwise we are all working separately, we need to collaborate to share our ideas which we are doing today
I think it is very important that although each private art museums in China has similar structure
The content of the program should be very different 
And also from my perspective, it is very important that they start cooperating with museums outside of China to bring in exhibitions 
And there will be big variety of shows
So they can bring in the exhibitions, for example, from Tate
They can bring in the exhibitions from national gallery in Canberra
And I actually have a proposal that I am going to put forward when I talk about bring in some young Chinese people
curators and people in the education department who will come
if we managed to organized this to Australia to works on the exhibitions with the national gallery in Canberra for three months
And learn from each other and in the end bring that exhibition which will be unique in China
That is one of the ways that each museum can differentiated one from each other through temporary exhibitions and also through a different vision
So one art museum might focus on Pan-Asian art that is art from all over Asia  
And other might focus on Chinese are from particular period 
And other might focus on art from China and Japan
There are many different ways that you can differentiated one museum from the next
When it comes to public program in my Sherman Contemporary Art Foundation, we called public program culture and ideas
We have many different layers
The one layers is with children, teenagers, adults, general public and professionals 
So there are quiet lot to do just in those few layers
Because each layer require different attitude and different expertise
You can’t just have an education department that can work with children and also with professionals, they are different people
So for example, with young children in my organization, we do cooking classes
Cooking the kind of food with the famous chef who works with culture in Asian where the project come from
So if we have a Chinese artist, we maybe have Sichuan food
If we have a Japanese artist, we will have Japanese chef to work with the young children
The teenagers who are very busy and studying for their exams, you have to make it fun
So we have lot of music and making it a social, not too many lectures but social
For the interested adults, you can have discussion and people come to speak 
And also we have educational sessions
Which are not about the topic exactly
But there are about general topics related to the topics
Foe example, if we have a Chinese artist, I did an exhibition on Chinese portraiture
So we will talk about portraits, not just Chinese portraiture, portraiture in 18 century Britain
Or why do people like to paint portraits or why are people interested in other people 
You can make it more general

编辑:孙毅

0条评论 评论

0/500

验证码:
新闻热线:010-51374003-809/818/808  主编信箱 Email:xinwen@99ys.com 客户投诉
编 辑QQ:1173591114 地址:北京市朝阳区酒仙桥路2号798艺术区01商务楼2010室 邮编:100015 99艺术网
网络文化经营许可证号:文网文[2010]179号 沪ICP备17033488号
版权所有: Copyright 2004-2008 北京久久弋曙科技有限责任公司
常年法律顾问:
(0)
(0)
(0)