在中国 商场艺术展览正在成为潮流

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购物艺术中心里，一部升降梯途经博柏利(Burberry)、蔻依(Chloé)、巴黎世家(Balenciaga)和其他高端店铺，每天载着成百上千人去排队观看各种非常不同的奢侈品展示。这个诱人的商场里有一个地下艺术馆，今年3月，克劳德·莫奈(Claude Monet)的40幅画作在那里展出，号称是中国史上最大的印象派画展。不久前的一个周日，一度有600个人挤满了艺术馆的两个展厅，观看这个“莫奈：印象派大师”(Monet: Master of Impressionism)展，该展览持续到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.

这个购物艺术中心约占地30万平方英尺，于2013年5月开业，它不是唯一的一家。现在中国的很多购物中心把艺术欣赏作为购物体验的一部分，有些购物中心在展示艺术品和销售商品方面同样用心。

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艺术基金会声称自己开创了这个被称为“博物馆-零售”的概念：它的每个购物艺术中心都有自己的团队，策划艺术馆的展览，协调整个建筑里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.

在中国，艺术和商业是结合在一起的，所以这个“艺术-零售”的概念在购物天堂上海成了一股强大的潮流。在这里，艺术变成了市场推广、吸引顾客的手段。掌控大局的那些人也把这些展览看做艺术教育的可行方式，因为在这个国度，只有富人才能接触艺术，购物中心是年轻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艺术基金会是在香港注册的一个非营利组织，它在香港和上海开设了两个K11购物艺术中心，分别展示了中国新晋艺术家和世界艺术大师们的约20件作品。在上海K11的扶梯顶端，达米安·赫斯特(Damien Hirst)的无头裸体孕妇雕塑在欢迎顾客们。在一个有机咖啡店附近有上海艺术团体六岛创作的互动视频作品，循环播放一个拿着购物袋昂首阔步的女人。

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.

在接下来的五年里，K11计划在中国各地开设更多这样的“博物馆-零售”中心——北京、广州以及一些快速发展的城市，比如沈阳、天津、海口、宁波和贵阳。武汉将开设两家。

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.

展览通常是免费的，但是莫奈展览的门票是100元人民币，约合16美元，用以弥补运输、处理和安保的成本。这些作品是从巴黎的马蒙丹·莫奈博物馆(Musée Marmottan Monet)借来的。看完展览后，游客们可以在礼品店里购买带框的睡莲海报等小物件。

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展示的作品不是用来销售的。不过，其他购物艺术中心在博物馆或画廊体验上添加了可供租赁的展览空间或者在整个购物中心进行的不定期展览，与艺术家、策展人或画廊合作，有时作品可供购买。

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的第一个购物中心2009年在香港开业。香港是它的创始人、主席郑志刚的故乡。他的家族建立了一个零售帝国：他的祖父是珠宝大亨郑裕彤——香港最富有的人之一。郑志刚是个热心的艺术收藏者，在美国接受教育，2008年回中国后开设了这个基金会。

“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.

“那时候，中国就像《了不起的盖茨比》(Great Gatsby)里的情形，”郑志刚在香港说。香港巴塞尔艺术展期间，他以K11的名义组织了张恩利画展。

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.”

他说自己的购物中心就像巡演或讲座，提供关于中国新晋艺术家和所有艺术的教育。“我有资源，”郑志刚补充说，“中国观众，甚至包括西方观众，并不真的知道中国当代新晋艺术家们在做什么。”

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.

郑志刚的基金会通常为自己的两个购物艺术中心提供武汉和贵阳的两个K11艺术村的作品，中国艺术家们可以在这两个艺术村申请住所。在莫奈展览之前，该艺术馆举办了这两个艺术村的艺术家们的作品展。K11的南中国区营运总经理陈健豪在购物中心里说，重点是创造一个“没有威压感的”观赏艺术的“环境”。

“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.

“在中国，很多人认为只有富豪们才能享受艺术，对艺术感到畏惧，”陈健豪说。艺术馆意在用儿童艺术课堂以及与店铺的合作项目吸引25岁至50岁的女人——他称她们为“成熟的女人”。比如，购物中心里的麦丝玛拉(MaxMara)店铺展示了三位中国艺术家的作品，他们都用了该品牌的标志性大衣。

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.

上海的其他购物中心也开始利用备受瞩目的展览带来的宣传。去年秋天，静安嘉里中心——该中心在上海有几个连锁店——举办了《Elle》中国版的25年摄影回顾展；去年路威酩轩(LVMH)集团的L’Avenue商场举办了概念艺术家徐震的作品展；去年11月，新的上海环贸IAPM商场为大卫·拉切贝尔(David LaChapelle)的Tod’s新系列手袋摄影展举办了一个开幕式。

“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.”

“中国当代艺术被归属于奢侈品范畴，”上海BANK画廊的创始人、总监马蒂厄·柏利塞维兹(Mathieu Borysevicz)说。他从20世纪90年代起在中国艺术界工作。“现在购物中心主动欢迎当代艺术。当然，一开始看起来很肤浅的活动将来有可能带来真诚的兴趣。”

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.

不是所有的展览都与时尚有关。5月30日，芮欧(Réel)百货上海公司开幕了一个名叫“艺想天开”(In and Out)的展览，展示的是香格纳画廊的艺术家们的作品。香格纳画廊是上海的顶级画廊之一。这个为期一个月的展览主要展示大型空间最擅长展示的装置作品，比如施勇的一个安装在轮子上的小型飞行器。施勇的作品包括摄影、行为艺术和装置作品。

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.

这个展览中的其他一些重要作品包括画家、装置艺术家韩锋用羊皮纸做成的漂浮城市和徐震的作品。徐震和他名下的一个约30人的公司一起创作作品。

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

这个开幕式还同时为该商场顶层的一个新的展览空间揭幕。

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.

在繁忙的静安地铁站的购物中心举办展览引起了香格纳画廊的总监何浦林(Lorenz Helbling)的兴趣。“艺术需要被展现给公众，”何浦林说。他1996年创立了该画廊。“只要它（展览）是诚恳的，是尊重艺术和艺术家的。”他说，在上海，艺术和商业的结合不只是个潮流，也是个传统：这座城市的第一个重要的当代艺术展览“待售的艺术”(Art for Sale)1999年在一个购物中心举办。

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.

在莫奈的画展上，K11的营运总经理陈健祥特别提到一幅吉维尼的桥的油画。它很像莫奈的《日本的桥》(The Japanese Bridge)，那幅画5月7日在纽约苏富比的拍卖会上以1590万美元的价格卖给了一位亚洲买家。

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

“有很多收藏者来访，”陈健祥微笑着说，“我们在想：也许他是受到我们展览的鼓舞而来的？”