谁要是劫了尤伦斯的生辰纲……
今天是6月30日，第二天就是北京5环以内大型货车长达3个月的禁运。尤伦斯的藏品展必须在今天晚12点之前把所有大型装置运进798，晚上6点半，大型货车开到尤伦斯中心门口，被俺逮个正着。看看先
卸货
这应该是林一林的作品《我们的未来》
图片上写的是 黄永砯作品《一人九兽》
大图
搬家公司歇了.
What is going on at the Ullens Center in Beijing? 尤伦斯中心向何处去？
Since it opened last November, four out of five senior curators and directors have left and one has apparently been redeployed
By Chris Gill | From Museums | Posted: 12.6.08
BEIJING. The Ullens Center for Contemporary Art in Beijing (UCCA), a new gallery entirely funded by Belgian foodstuffs baron Guy Ullens and his wife Myriam, was inaugurated to great razzmatazz last November with what was rumoured to be the most expensive opening the Chinese art world had ever seen. Local press reported a total of RMB 100m ($14m) was spent on the series of events to mark the centre’s launch.
Just six months later, four out of the five senior staff members, introduced to the press at the opening, have left the gallery. The fifth has apparently been redeployed and UCCA itself has faced harsh criticism from the Beijing art world over its management and curatorial approach.
The departures started in February when artistic director, Fei Dawei, stepped down to assume a new “research-based” role. Last month we reported that Virginia Ibbott, director of external relations, and Jan Debbaut, senior artistic advisor, had also parted company with UCCA. Now, news has emerged that chief curator Colin Chinnery and administrative director Julien Chandet also left the gallery in April.
Colin Chinnery told The Art Newspaper his departure was “an amicable split. It was a positive move for me.” Virginia Ibbott was unwilling to comment. Jan Debbaut says that, as senior artistic advisor, he had only been planning to work with UCCA for a short time and that he left once his work had been completed. Fei Dawei did not turn up for a scheduled interview. A spokeswoman for UCCA, Elisa Cousseran, says Fei Dawei is in the process of establishing the educational programmes but two sources inside the gallery say he has no new position in the organisation.
While new appointments have been made—Jérôme Sans was appointed artistic director in February—and Chinese curator Guo Xiaoyan has been promoted to the position of chief curator, the departure of the entire team presented to the press at the gallery’s inauguration seems to be an indication of a radical overhaul of UCCA’s management and objectives.
According to insiders, the main reasons for the sudden management shake up has been the result of a huge shift in emphasis as Guy Ullens has changed the financial targets for the centre, moving the break even point from 2013 to 2010. Within the next two years, the staff is expected to generate e6m annually to cover costs. This has driven the internal changes, as financial considerations will be the driving force. Jérôme Sans, a former co-director of the Palais de Tokyo in Paris, and former head of programming at the Baltic in Gateshead, England, who had most recently been working as cultural curator for Le Méridien Hotels, is expected to spearhead this new financial focus. As well as the staff departures, a Rebecca Horn exhibition, originally scheduled to open in November, has been postponed until Spring 2009. Mr Sans, who only spends ten days a month in China, was unavailable for comment. Guy Ullens was also unavailable for comment.
If the target of e6m revenue is reached, it would place UCCA among the highest earning art organisations in China, either commercial or state-owned. To generate money UCCA is developing its shop, extending the range of limited edition art work and souvenirs, such as plastic dinosaurs selling for RMB 45,000 ($6,500) each. It is also opening a restaurant and continuing its search for sponsors.
Under attack
As the most serious attempt to date to create a not-for-profit art centre in China, UCCA has had to deal with a diverse set of circumstances, not entirely unique to China, but exacerbated by concerns over cultural imperialism, the highly competitive Chinese art scene and the particular circumstances and situation of art institutions in the country.
Currently China has a handful of state-owned art museums which dominate the upper tiers of the country’s high profile art events, especially Beijing’s National Art Museum of China, the Shanghai Art Museum and Guangdong Museum of Art. By opening a gallery that directly challenges the position of these state-run institutions, UCCA has set itself up for criticism, especially as many in China object to the establishment of a foreign-run art institution in the heart of the capital’s main art district. Despite the constant sniping, much of which is directed at the perceived lack of Chinese nationals in senior management positions, none of the art world figures approached by The Art Newspaper would speak on the record.
Responding on behalf of UCCA, spokeswoman Elisa Cousseran said: “Guy Ullens is making this centre sustainable. Our team is 80% Chinese, but it is not easy to work with people creating a new concept of an institution; everybody is working together and everyone is useful. We have a platform of talking together. We may have had a massive opening but we are here to stay. Guy Ullens is one of the first people to acknowledge there is something else to do in China besides business. He has been very generous, giving back to the Chinese artists.”
©2008 The Art Newspaper
Since it opened last November, four out of five senior curators and directors have left and one has apparently been redeployed
By Chris Gill | From Museums | Posted: 12.6.08
BEIJING. The Ullens Center for Contemporary Art in Beijing (UCCA), a new gallery entirely funded by Belgian foodstuffs baron Guy Ullens and his wife Myriam, was inaugurated to great razzmatazz last November with what was rumoured to be the most expensive opening the Chinese art world had ever seen. Local press reported a total of RMB 100m ($14m) was spent on the series of events to mark the centre’s launch.
Just six months later, four out of the five senior staff members, introduced to the press at the opening, have left the gallery. The fifth has apparently been redeployed and UCCA itself has faced harsh criticism from the Beijing art world over its management and curatorial approach.
The departures started in February when artistic director, Fei Dawei, stepped down to assume a new “research-based” role. Last month we reported that Virginia Ibbott, director of external relations, and Jan Debbaut, senior artistic advisor, had also parted company with UCCA. Now, news has emerged that chief curator Colin Chinnery and administrative director Julien Chandet also left the gallery in April.
Colin Chinnery told The Art Newspaper his departure was “an amicable split. It was a positive move for me.” Virginia Ibbott was unwilling to comment. Jan Debbaut says that, as senior artistic advisor, he had only been planning to work with UCCA for a short time and that he left once his work had been completed. Fei Dawei did not turn up for a scheduled interview. A spokeswoman for UCCA, Elisa Cousseran, says Fei Dawei is in the process of establishing the educational programmes but two sources inside the gallery say he has no new position in the organisation.
While new appointments have been made—Jérôme Sans was appointed artistic director in February—and Chinese curator Guo Xiaoyan has been promoted to the position of chief curator, the departure of the entire team presented to the press at the gallery’s inauguration seems to be an indication of a radical overhaul of UCCA’s management and objectives.
According to insiders, the main reasons for the sudden management shake up has been the result of a huge shift in emphasis as Guy Ullens has changed the financial targets for the centre, moving the break even point from 2013 to 2010. Within the next two years, the staff is expected to generate e6m annually to cover costs. This has driven the internal changes, as financial considerations will be the driving force. Jérôme Sans, a former co-director of the Palais de Tokyo in Paris, and former head of programming at the Baltic in Gateshead, England, who had most recently been working as cultural curator for Le Méridien Hotels, is expected to spearhead this new financial focus. As well as the staff departures, a Rebecca Horn exhibition, originally scheduled to open in November, has been postponed until Spring 2009. Mr Sans, who only spends ten days a month in China, was unavailable for comment. Guy Ullens was also unavailable for comment.
If the target of e6m revenue is reached, it would place UCCA among the highest earning art organisations in China, either commercial or state-owned. To generate money UCCA is developing its shop, extending the range of limited edition art work and souvenirs, such as plastic dinosaurs selling for RMB 45,000 ($6,500) each. It is also opening a restaurant and continuing its search for sponsors.
Under attack
As the most serious attempt to date to create a not-for-profit art centre in China, UCCA has had to deal with a diverse set of circumstances, not entirely unique to China, but exacerbated by concerns over cultural imperialism, the highly competitive Chinese art scene and the particular circumstances and situation of art institutions in the country.
Currently China has a handful of state-owned art museums which dominate the upper tiers of the country’s high profile art events, especially Beijing’s National Art Museum of China, the Shanghai Art Museum and Guangdong Museum of Art. By opening a gallery that directly challenges the position of these state-run institutions, UCCA has set itself up for criticism, especially as many in China object to the establishment of a foreign-run art institution in the heart of the capital’s main art district. Despite the constant sniping, much of which is directed at the perceived lack of Chinese nationals in senior management positions, none of the art world figures approached by The Art Newspaper would speak on the record.
Responding on behalf of UCCA, spokeswoman Elisa Cousseran said: “Guy Ullens is making this centre sustainable. Our team is 80% Chinese, but it is not easy to work with people creating a new concept of an institution; everybody is working together and everyone is useful. We have a platform of talking together. We may have had a massive opening but we are here to stay. Guy Ullens is one of the first people to acknowledge there is something else to do in China besides business. He has been very generous, giving back to the Chinese artists.”
©2008 The Art Newspaper
岁建国的恐龙太弱智了，这么差的东西做得再大在哪里展出都是没意思
说实在的，我一直没看懂，这恐龙好在哪里？
尤伦斯当代艺术中心进入多事之秋 5位管理层的4位已经离任
99艺术网([url]http://www.99ys.com) 来源:艺术财经 丁书哲 2008-6-30 9:18:03 该新闻已被查看116次 我有新闻发布
从去年11月份入住798艺术区算起，尤伦斯当代艺术中心已成立半年有余。作为中国大陆首家非赢利性外资艺术机构，尤伦斯耗资1亿人民币搭建了中国当代艺术的舞台，甫一亮相，便以"八五新潮"回顾展引起世人关注，其雄厚的资本和暧昧的身份惹得了中外艺术界议论纷纷。如今，伴随其接踵而至的展览，其剧烈的管理层变革更是成为艺术圈内的一大热点。据《The art newspaper》报道，5月份为止，尤伦斯5位管理层的4位已经离任，还有1位即将面临职位的调离。今年2月，尤伦斯当代艺术中心负责人费大为首先离任。接着，首席策展人Colin Chinnery和行政主管Julien Chandet 4月离职。现在又传出消息，公共关系部负责人Virginia Ibbott和艺术顾问JanDebbaut5月份已经离开尤伦斯。尤伦斯正在进入一个多事之秋。
人之分手，其言也善。当事人在面对媒体时都采取了回避或者寻找正当理由的态度。Colin Chinnery就告诉记者："这是一次友好分手"；Jan Debbaut也表示，他在尤伦斯工作本来就是其本人短期计划的一部分。而其他几人都没有对此表示评论。在争议最大的费大为离职事件上，尤伦斯发言人 Elisa Cousseran说道，费大为并没有离开尤伦斯，他现在在负责建设公共教育的项目。但据内部人员透露，费大为在尤伦斯并没有新的职位。
如此剧烈的人事变动，源于尤伦斯当代艺术中心的财政策略发生变化。《The artnews paper》杂志提到，尤伦斯在今后两年内计划每年创造600万欧元的收入。为此，他们变更了管理层人员，将大力发展艺术品衍生品开发，并计划开一个餐馆和寻找不同的新赞助商。如果其财政目标得以实现，尤伦斯将成为中国最赚钱的艺术机构。
从"中国当代艺术的慈善家"到"立志作为中国最赚钱的艺术机构"，短短半年之内，尤伦斯似乎就开始了身份的蜕变。其实从尤伦斯登陆中国开始，身份便一直颇受质疑。尽管尤伦斯以中国当代艺术的朋友自居，但在很多人眼里，"尤伦斯当代艺术中心的成立，是外国资本对中国当代艺术的大规模的圈钱运动，是一次赤裸裸的帝国主义文化霸权的行为"。而"作为尤伦斯当代艺术中心负责人的费大为更是成为洋买办的代表，其精心策划的，八五新潮，回顾展被人诟病"。现在，起初的管理层团队已经不复存在，尤伦斯似乎也在撕下"慈善家"的面纱，露出其"资本运作"的商业面孔，这一切所作所为，正在受到艺术界的不少质疑。
尤伦斯陷入如此尴尬境地，可能是之前没有想到的。作为少有的外资非盈利性机构，从一开始成立就没有得到国人的充分认同。在现在的国内艺术生态中，尽管大大小小的民营美术馆雨后春笋般成立，但相应的法律政策都处在建设之中，其自身素质也存在着缺陷；与此相反，国立美术馆仍是这个行业的龙头老大，中国美术馆、上海美术馆和广东美术馆最近两年表现格外突出。在这样的环境下，一个外国艺术机构，以"美术馆"的身份来到中国，宣称要做出推动中国当代艺术，并不以盈利为目地，自然的会被人怀疑其假公济私的商业属性。现在，尤伦斯的做法似乎越来越印证人们的猜测，然而是精心预谋还是无奈之举，我们却不能妄下判断。毕竟，在没有政策倾斜的情况下，光依靠尤伦斯夫妇的资金注入来维持如此庞大艺术机构的日常运作，并不是一件容易的事情。我们只能说，这是一个最好的时代，这也是一个最坏的时代，尤伦斯和我们一道正在见证着中国当代艺术体系的建立。因此，作为第一个吃螃蟹者，所有的尴尬都孕育着新机遇。
99艺术网([url]http://www.99ys.com) 来源:艺术财经 丁书哲 2008-6-30 9:18:03 该新闻已被查看116次 我有新闻发布
从去年11月份入住798艺术区算起，尤伦斯当代艺术中心已成立半年有余。作为中国大陆首家非赢利性外资艺术机构，尤伦斯耗资1亿人民币搭建了中国当代艺术的舞台，甫一亮相，便以"八五新潮"回顾展引起世人关注，其雄厚的资本和暧昧的身份惹得了中外艺术界议论纷纷。如今，伴随其接踵而至的展览，其剧烈的管理层变革更是成为艺术圈内的一大热点。据《The art newspaper》报道，5月份为止，尤伦斯5位管理层的4位已经离任，还有1位即将面临职位的调离。今年2月，尤伦斯当代艺术中心负责人费大为首先离任。接着，首席策展人Colin Chinnery和行政主管Julien Chandet 4月离职。现在又传出消息，公共关系部负责人Virginia Ibbott和艺术顾问JanDebbaut5月份已经离开尤伦斯。尤伦斯正在进入一个多事之秋。
人之分手，其言也善。当事人在面对媒体时都采取了回避或者寻找正当理由的态度。Colin Chinnery就告诉记者："这是一次友好分手"；Jan Debbaut也表示，他在尤伦斯工作本来就是其本人短期计划的一部分。而其他几人都没有对此表示评论。在争议最大的费大为离职事件上，尤伦斯发言人 Elisa Cousseran说道，费大为并没有离开尤伦斯，他现在在负责建设公共教育的项目。但据内部人员透露，费大为在尤伦斯并没有新的职位。
如此剧烈的人事变动，源于尤伦斯当代艺术中心的财政策略发生变化。《The artnews paper》杂志提到，尤伦斯在今后两年内计划每年创造600万欧元的收入。为此，他们变更了管理层人员，将大力发展艺术品衍生品开发，并计划开一个餐馆和寻找不同的新赞助商。如果其财政目标得以实现，尤伦斯将成为中国最赚钱的艺术机构。
从"中国当代艺术的慈善家"到"立志作为中国最赚钱的艺术机构"，短短半年之内，尤伦斯似乎就开始了身份的蜕变。其实从尤伦斯登陆中国开始，身份便一直颇受质疑。尽管尤伦斯以中国当代艺术的朋友自居，但在很多人眼里，"尤伦斯当代艺术中心的成立，是外国资本对中国当代艺术的大规模的圈钱运动，是一次赤裸裸的帝国主义文化霸权的行为"。而"作为尤伦斯当代艺术中心负责人的费大为更是成为洋买办的代表，其精心策划的，八五新潮，回顾展被人诟病"。现在，起初的管理层团队已经不复存在，尤伦斯似乎也在撕下"慈善家"的面纱，露出其"资本运作"的商业面孔，这一切所作所为，正在受到艺术界的不少质疑。
尤伦斯陷入如此尴尬境地，可能是之前没有想到的。作为少有的外资非盈利性机构，从一开始成立就没有得到国人的充分认同。在现在的国内艺术生态中，尽管大大小小的民营美术馆雨后春笋般成立，但相应的法律政策都处在建设之中，其自身素质也存在着缺陷；与此相反，国立美术馆仍是这个行业的龙头老大，中国美术馆、上海美术馆和广东美术馆最近两年表现格外突出。在这样的环境下，一个外国艺术机构，以"美术馆"的身份来到中国，宣称要做出推动中国当代艺术，并不以盈利为目地，自然的会被人怀疑其假公济私的商业属性。现在，尤伦斯的做法似乎越来越印证人们的猜测，然而是精心预谋还是无奈之举，我们却不能妄下判断。毕竟，在没有政策倾斜的情况下，光依靠尤伦斯夫妇的资金注入来维持如此庞大艺术机构的日常运作，并不是一件容易的事情。我们只能说，这是一个最好的时代，这也是一个最坏的时代，尤伦斯和我们一道正在见证着中国当代艺术体系的建立。因此，作为第一个吃螃蟹者，所有的尴尬都孕育着新机遇。
