泰康美术馆艺术总监 唐昕「泰康美术馆致力于成为一家专业且友好的美术馆，专注于中国进入现代化发展之后的艺术。宗旨是通过艺术面向公众讲述现代中国的艺术故事，服务好艺术的创作者和欣赏者。这一愿景体现了美术馆对于艺术价值的深刻理解和对于公众艺术教育的重视，希望在艺术与公众之间搭建起一座沟通的桥梁。泰康美术馆艺术总监唐昕的演讲围绕泰康美术馆的使命与愿景展开了分享。」1.知识生产体系的构建泰康美术馆的前身泰康空间，拥有20年的学术研究和收藏历史，美术馆延续了这一传统，致力于构建自身的知识生产体系。唐昕强调，美术馆本质上是关于审美价值和价值体系的事物，而价值和价值体系又与人密切相关。因此，泰康美术馆的专业性和友好性，既体现在对价值体系的专业构建上，也体现在与公众的友好互动上。目前的体系构架是“1905—1942—1977以来”，专注:中国进入现代化发展以来的艺术史。基于以上背景，泰康美术馆在体系构建上围绕三大研究问题与工作方法。（一）三大问题泰康美术馆围绕三大问题展开工作：媒介、生态和建制。这三大问题是在泰康空间20年的实践和项目开展中逐渐提炼总结出来的。对于媒介方面，2012年起作为核心问题，关注传统媒介如国画、版画，以及摄影、影像、行为、装置等新媒介，回归艺术本体，探索多元媒介在中国土壤中的本土化发展。过去20年中，围绕媒介开展的项目有52个，并将摄影作为个案进行专门的收藏和研究。在生态方面，探讨在中国艺术生态发展过程中，社会力量和因素对艺术创作及创作群体的影响。生态问题2013年提出，围绕这个问题开展了74个项目。最后关于建制问题，持续关注与本土传统意识形态、历史事件、经济发展和科技教育等相关的动态力量对艺术发展形成的规范。建制问题自2015年提出后，成为美术馆重要的研究方向之一。（二）工作方法泰康美术馆采用“展藏研一体化”的工作方法，从2005年开始进行专业化、体系化的收藏，以藏证史，目前拥有非常丰富的藏品。这种工作方法使得美术馆在研究、收藏和展示之间形成了紧密的联系，为构建知识生产体系提供了坚实的基础。2.时间框架与历史分期泰康美术馆构建了一个从1905年到1942年再到1977年的时间框架，围绕这一框架开展研究。1905年科举制被废除，标志着艺术创作群体从传统向现代转型的转折点，艺术家从旧时的文人士大夫转变为具有专业性知识体系的现代艺术家。1942年则是毛泽东提出文艺座谈会讲话的时间。1977年恢复高考影响后来对于学科专业化的注重，导致后来艺术创作群体性的关注创作媒介本身的趋势性的变化。这三个时间节点对于理解中国现当代艺术的发展具有重要意义。从2003年由陈东升董事长推动泰康集团发起成立泰康空间，泰康艺术研究通过倒叙的方式追溯历史，初期关注当代艺术，到2009年将研究推进到1942年，再到2023年转型为美术馆时将研究推进到1905年，明晰1977年，形成了一个完整的研究收藏展示体系。3.公众互动与友好性泰康美术馆不仅注重专业性的建设，也致力于成为一个与公众互动性强的美术馆。唐昕强调，美术馆希望与时代共情，用同频的方式来打通与观众之间的共同经验，帮助观众理解当代艺术。为此，美术馆开展了一系列特定的活动，如面向北京中学生的AI艺术挑战项目，连接了15个学校的170多个学生，打破了美术馆与校园教育的传统边界。此外，美术馆还举办了党史课等特色活动，将党史教育与艺术情景相结合，以新型内容的形式在五个城市开展了近七场活动，线上线下参与的党员有三千多人。这些活动体现了美术馆在公众互动方面的积极探索和创新，旨在让艺术更加贴近公众的生活，增强公众对艺术的认同感和参与感。4.当前展览与未来展望唐昕提到，泰康美术馆目前正在展出关于八九十年代的艺术展览，希望通过与公众共情和共同经验的角度，让观众更能接近和理解那个时代的艺术。这体现了美术馆在展览策划上注重与公众的共鸣，试图通过艺术作品唤起公众的时代记忆和情感共鸣。对于未来，唐昕希望美术馆能够成为一个属于艺术创作者和欣赏者的平台，继续在专业性和友好性之间寻求平衡，推动中国现当代艺术的发展，并为公众提供更加丰富和多元的艺术体验。5.总结唐昕总监的发言全面而深入地介绍了泰康美术馆的宗旨、知识生产体系的构建、三大研究问题与工作方法、时间框架与历史分期、公众互动与友好性，以及当前展览与未来展望。通过这些内容，我们可以清晰地看到泰康美术馆在专业性和友好性方面的努力与成就。美术馆不仅在学术研究和收藏方面取得了显著成果，也在公众互动和艺术教育方面做出了积极贡献。泰康美术馆的实践为中国现当代艺术的发展提供了重要的参考和借鉴，也为公众与艺术之间的沟通搭建了坚实的桥梁。在未来，泰康美术馆将继续致力于推动艺术与公众的互动，为艺术的创作者和欣赏者提供更好的服务，成为中国现当代艺术发展的重要力量。演讲嘉宾介绍唐昕泰康保险集团艺术品收藏部负责人、泰康美术馆艺术总监、策展人。 1990年毕业于天津科技大学，1997年成为独立策展人，2003年加盟泰康保险集团，创建泰康空间至今天的泰康美术馆，带领其成为中国当下最具活力的非营利艺术机构之一。作为泰康集团收藏部的负责人，历经二十余年研究和积累，建立起一份翘楚业内并颇具规模与艺术史价值的企业收藏，使泰康收藏成为国内显见的全面涵盖和反映20世纪中国现代化发展以来的艺术发展历史的体系化收藏。主编 / 何一沙 责编 / 杜隐珠现场图 / 贺伊飞文字整理 / 许禧

Artist Books, through the artists' fine thinking of "book space", transfer and mix freely the reading of the text, the appreciation of the visual and the touch of materials. THey have become a new art form and the next phase of the history of books. Artists design, illustrate, print all by themselves, and perform the elements like text, image, paper, material and ink to the height of an artwork.

On November 3, the second day of “International Art Education Conference Art Museum Forum: Opportunities and Challenges of Art Museums in the Digital Age” was transferred to the conference hall of the Ovation Seven-Cultivation Hotel in Langfang. The discussion on that day started with “The Role of Art Museums in Making the Contemporary Art History” and “The Differences Between Public and University Art Museums in Art Education”.Session II: The Role of Art Museums in Making the Contemporary Art HistoryTime: 10:30-12:30, Saturday, November 3, 2018Venue: The Conference Hall of Ovation Seven-Cultivation Hotel in LangfangHost: Gao Gao, Assistant to Director, CAFA Art MuseumChairs of Forum: Zhang Zikang, Director of CAFA Art Museum                              Geoffrey Ward, Acting Director of Fitzwilliam Museum, Deputy Vice-Chancellor of University of CambridgeGuests: John W. Smith, Adele Tan, Jiyoon Lee, Ji Shaofeng, Hang Jian, Li Xiaoshan, Wang Chunchen (list in the order of speech)1John W. Smith, Director of Museum of Rhode Island School of DesignJohn W. Smith, Director of Museum of Rhode Island School of Design, made a speech on “A Museum for Artists-Its Past and Future”. He combined with the background of Rhode Island School of Design and shared the experience of how the museum develops around teaching. Rhode Island was once the textile center and important jewelry industry with a long history in design. The 140-year-old Rhode Island School of Design still uses the ancient technique of copying as one of the means of art education, and the Museum of Rhode Island School of Design is the main site for students to copy famous paintings. The museum is closely related to the study and practice of students, as they are deeply involved in public education, exhibition curating and collection management.2Adele Tan, Senior Curator of National Gallery SingaporeAdele Tan, Senior Curator of National Gallery Singapore, spoke on “Making Space: the Digital World and the Art Museum”. Curator Chen is in charge of the museum’s collection and exhibition since the 1970s, as well as entrusted projects of contemporary works. She first talked about the development and reform of the National Gallery Singapore, including the influence of the two performance arts “32 Years: The Interrogation of a Mirror” and “Let’s Walk Together” on the museum and contemporary art in Singapore. Another major part of Curator Chen’s speech was the museum’s attempts based on the characteristics of the digital age, such as developing online exhibitions on mobile apps, exhibitions based on twitter, design exhibitions of pure electronic version that exists on the web, and digital interactive “social desktop” where exhibits can be viewed online. The National Gallery Singapore has tried to make use of digital technology to create many virtual exhibitions on the digital platform and made them become a beneficial supplement to the physical displays.3Jiyoon Lee, Former Managing Director at National Museum of Modern and Contemporary Art (MMCA), Korea; Director of SUUM Contemporary Art ProjectJiyoon Lee, Former Managing Director at MMCA, Korea and Director of SUUM Contemporary Art Project, gave a speech on “The Role of Curatorship in the Age of New Technology Art”. Based on her own experience in the construction and curation of the museum, Director Lee primarily introduced how to use new technology to intervene in this process. The MMCA, Korea has been trying to develop art based on new technologies. It receives the technical support from high-tech enterprises such as Hyundai Motor and Hyundai Engine – they incorporate technology into artistic creation and art exhibition to create more possibilities for the museum. At the same time, Director Lee also stressed to help the curators to obtain opportunities for multi-dimensional learning and practice, because curators are not only researchers but also project managers, creators and producers.4JI Shaofeng, Director of Hubei Museum of ArtJI Shaofeng, Director of Hubei Museum of Art, talked about “Collecting is Thinking: the Role of Art Museums in Contemporary Art History”.  Director Ji believes that collecting should be a forward-looking study and collection of works in line with and beyond the times, so as to preserve the most valuable thoughts through collecting. When these thoughts are implemented in art museums, they will play an active role in the development, construction and research of contemporary art history. In the study of modern art history, we should avoid the interference of power and the bondage of capital, construct the collection series of contemporary art history from the perspective of art history and promote the construction of contemporary art history with the collection.5 HANG Jian, Director-General of CAA Museum, China Academy of ArtHANG Jian, Director-General of CAA Museum, China Academy of Art, delivered a speech on “The History of Design and the Design Museum in China – A Process of Designing Democratic Value Discovery”. Director Hang first introduced the three parts constituting the art museum group of China Academy of Art: the Museum of Contemporary Art, China Design Museum and China Academy of Arts' Folk Art Museum. Among them, he highlighted the planning concept and the eye-catching exhibition of the China Design Museum that just opened on April 8 this year. Director Hang pointed out that the mission of the China Design Museum is to consider how to respond to the changes in society and science & technology. In today’s rapidly changing science and technology, compared with art museums, China Design Museum pays more attention to the relationship between technology and human life in the future development, as well as the impact of technology on human future.6Li Xiaoshan, Director of Art Museum of Nanjing University of the ArtLi Xiaoshan, Director of Art Museum of Nanjing University of the Art, spoke on the topic of “From the Art Museum of Nanjing University of the Art to See the Present Situation and Future of Efficient Art Museums in China”. After a brief introduction of the art museum, he put forward three problems: the boundary of the art museum, the standards and features of the art museum, and opportunities and challenges of art museums in the digital age, which are three topics that currently faced by many art museums and deserves pondering. Director Li believes that the discussion of the forum should not focus on the explanation of each museum but to go deep into the consideration of practical problems such as theoretical problem, conceptual problem, and standard features of managing art museums, and so on.7WANG Chunchen, Deputy Director of CAFA Art MuseumWANG Chunchen, Deputy Director of CAFA Art Museum, made a speech on the topic of “Art Museum and the Making of Art History”. Director Wang stated that art museums appeared with the birth of art history research and played a critical role in the making of art history. Art Museums should undertake the recording and studying of art history, rather than just turning museum space into places for public activities, even sites for recreation and capital consumption. At the end of his speech, Director Wang hopes that peers of art museums can clarify the responsibilities of the art museum and make today’s art museums regain their mission of constructing art history. When the speeches of the second session were finished, two chairs of forum discussed with speakers and on-site media on issues such as art museum and contemporary art, art museum’s role of making art history, the specialty of design and architecture museums, etc. For art museums and contemporary art, Geoffrey Ward pointed out that there is a paradox between art museums and contemporary art as some art museums become boxes for hanging paintings and this kind of simple arrangement is a common problem of modern art museums. Regarding the art museum and art history, Director Smith thinks that the more important work of curators is not to write the history of art but to build a narrative belonging to the institution itself. Successful curators can tell a grand story in low-cost and express the whole trend through a certain aspect. As for the particularity of design museums, Director Hang states that the mission of art exhibition is different from that of contemporary design exhibition. The former helps to observe objects in different chains of design history, technological and social development, while the latter points to the possibility of future life. In response to the media’s questions about the acceptance of architectural exhibitions, Director Lee said that the MMCA Korea has already paid attention to the importance of collecting architectural models and started planning the exhibition of architects. Last year, the Seoul Biennale of Architecture was held in Seoul, and more architectural exhibitions will be held in the art museum in the future. Director Hang said that when the China Design Museum just opened, it took one third of the exhibition space to make the first Asian architecture exhibition for Siza, and it tried to think about the development of Chinese architecture itself by sorting out the development history of important international architects along with the different possibilities of their works around the world.Session III: The Differences Between Public and University Art Museums in Art EducationTime: 14:00-18:00, Saturday, November 3, 2018Venue: The Conference Hall of Ovation Seven-Cultivation Hotel in LangfangHost: Wang Chunchen, Deputy Director of CAFA Art MuseumGuests: Uladzimir Prakaptso, Geoffrey Ward, Ernst Vegelin van Claerbergen, Caitlin Doherty, Zhou Xujun, Patricia Rodewald, Guillermo Solana, Cao Hong, Meng Xianwei, Han Haiyan (list in the order of speech)1Uladzimir Prakaptso, Chairman of Belarusian Art Society, Director of National Art Museum of the Republic of BelarusUladzimir Prakaptso, Chairman of Belarusian Art Society, Director of National Art Museum of the Republic of Belarus, started the forum with the topic of “Cultural Cooperation is an Integral Component of the Belarusian-Chinese Relations”. He briefly introduced the “The Belt and Road” cooperation between Belarus and China. Prakaptso believes Chinese art is very attractive to the National Art Museum of the Republic of Belarus and hopes to bring more works of Chinese artists into Belarus. He also mentioned that 2019 is the 80th anniversary of the establishment of the art museum, which he hopes to witness with the participating guests together.2Geoffrey Ward, Acting Director of Fitzwilliam Museum, Deputy Vice-Chancellor of University of CambridgeGeoffrey Ward, Acting Director of Fitzwilliam Museum, Deputy Vice-Chancellor of University of Cambridge, spoke on “The Differences between Public and University Art Museums”. Director Ward first described the differences between Western and Chinese museums. He mentioned that, in the context of his work, in addition to a strong artistic background and successful management experience, museum directors are required to have the ability to raise funds, extensive contacts and business planning capability, as well as enough confidence to deal with the relationship between the 800-year-old university and the young art museum. He also stated in detail the difficulties faced in Britain, such as the increasing involvement of the government in the management but the reluctance to provide financial support, and the fact that charity is often an essential resource of funding for museums. Ward concluded that the function of a university museum is to stimulate students’ interest in art while serving as a link connecting different social groups.3Ernst Vegelin van Claerbergen, Director of the Courtauld GalleryErnst Vegelin van Claerbergen, Director of the Courtauld Gallery, made a speech on “The Public Value of the University Art Museum”. He believes that the university art museum should be a cutting-edge existence, and instead of letting people learn what they already know, it should expand the public’s knowledge in this field and promote the democratization of knowledge. University art museums and museums are supposed to be confident in dealing with factors from different aspects. At the same time, he also raised doubts about using the number of visitors as the standard to evaluate an art museum. He believes that organizing a well-received exhibition by such a criterion might deprive the audience of opportunities to learn about other art forms.4Caitlin Doherty, Executive Director of Museum of Contemporary Art Jacksonville, University of North FloridaCaitlin Doherty, Executive Director of Museum of Contemporary Art Jacksonville, University of North Florida, gave a speech on “MOCA Jacksonville: A Bridge Between Campus and Community”. Director Doherty believes that art and culture are a driving force, not a mere superstructure, that should undertake more responsibility for the community. By introducing different exhibition planning projects, she elaborated the museum’s attempt to change students’ lives through education projects and stressed that in this respect, the art museum plays an increasingly significant role and will help more community members to accept art education.5ZHOU Xujun, Director of Minsheng Art Museum BeijngZHOU Xujun, Director of Minsheng Art Museum Beijng, made a speech on “Public Art Museum and Art Education for the Public: the Case of Minsheng Art Museum”. Director Zhou believes that in the information age when visual images are easily accessible, art museums’ role of public education is changing and are endowed with the function of “knowledge production” and “social intercourse space”. As a model of private Chinese contemporary art museum, the three-year-old Minsheng Art Museum Beijing attaches great importance to public education, adhere to the idea of “equality and openness” and emphasize the connection with the urban public. From five keywords of “exhibition”, “children”, “cross-field”, “theory” and “public”, the museum designs and builds brand public education activities, making the art museum a cultural exchange platform for multiple services and constantly inject new cultural energy for the city.6Patricia Rodewald, Senior Advisor for Global Programs (China) of American Alliance of MuseumsPatricia Rodewald, Senior Advisor for Global Programs (China) of American Alliance of Museums, talked about “Artificial Intelligence and Interpretation: Engaging Audiences in New Ways”. Rodewald said that she and her team serve non-professionals and hope to encourage this kind of group to appreciate and explore artworks at close range. For that reason, they actively exploit different ways of interacting with the audience from traditional museums, such as developing some AI technologies to help the viewer conduct a direct dialogue with the collection, as it will be a very meaningful experience for the audience.7Guillermo Solana, Artistic Director of Museo Thyssen-BornemiszaGuillermo Solana, Artistic Director of Museo Thyssen-Bornemisza, gave a speech about “Artists’ Workshops as an Educational Tool: The Case of the Thyssen Museum, Madrid, Spain”. In his talk, he said that early European museums were important places for educating artists, but now, the relationship between art museums and contemporary artists becomes alienated. He has been considering the relationship between artists and art museums, and how to make the public re-recognize this relationship. Based on this thought, the art museum holds an in-depth exhibition of contemporary artists every year. Apart from guiding visitors to appreciate works, artists also invite them to participate in the exhibition so that visitors can understand the creation process of contemporary artists and the production process of works in the museum.8CAO Hong, Deputy Director of Arthur M. Sackler Museum of Art and Archeology at Peking UniversityCAO Hong, Deputy Director of Arthur M. Sackler Museum of Art and Archeology at Peking University, delivered a speech entitled “The Role of University Art Museum in the Higher Education of Arts: A Case of Arthur M. Sackler Museum at Peking University”. Director Cao introduced the museum’s three types of exhibitions: exhibitions showing the newest archaeological discoveries and scientific research results, art exhibitions emphasizing a dialogue between ancient and modern times, innovative exhibitions planned and made by students. These kinds of exhibitions aim to develop a relationship with the students using the collection and offer them maximum privileges to engage in the collection sorting and studying.9MENG Xianwei, Founder of "Qingdao Artists' Garden" Project, Director-general of Qingdao Museum of Contemporary ArtMENG Xianwei, Founder of "Qingdao Artists' Garden" Project, Director-general of Qingdao Museum of Contemporary Art, spoke on the topic of “Construction and Ecology Establishment of Qingdao Museum of Contemporary Art”. In his speech, Meng stated the design concept and plan of the art museum – an art museum that is closely related to art and life. As a cultural facility of the city, he expects the art museum can make contributions to nature and community, and thus integrate into the natural environment.10HAN Haiyan, Deputy Director of Langfang Gallery of CAFA Art MuseumHAN Haiyan, Deputy Director of Langfang Gallery of CAFA Art Museum, gave a speech on “Come-in Visitors, Go-out Art Museums - Unlimited Growing Public Education”. Director Han introduced the specific circumstance of the project of the “International Cultural Exchange Center of the Silk Road” in Langfang, followed by a series of art education projects launched to promote the connection between art and the public. She also analyzed the challenges the museum may face in its future operation.After the keynote speeches finished, two chairs of forum exchanged opinions with speakers and on-site guests on issues such as using the number of visitors as the standard to evaluate an art museum. James Bradburne said that with different aims and missions, art museums do need to have some conventional measuring factors as the standard of assessing an art museum but the number of visitors does not mean anything, and it probably makes more sense to give a more detailed analysis, like to analyze how many visitors are repeat visitors or first-time visitors and what is the proportion of young people or children. Director Doherty believes that exhibition space should be a place for experimentation so that the art museum should go back to explore more demands and possibilities of visitors beyond the statistical framework. Director Zhang Zikang stated that the quality and quantity of the audience should be taken into consideration to promote good exhibitions and valuable arts.At this point, the two-day “International Art Education Conference Art Museum Forum: Opportunities and Challenges for Art Museums in the Digital Age” ended completely. However, art museum practitioners will continue to question and think about issues of current value and future development of art museums as well as how should today’s art museums respond to the changes of the times. The answer is open and dynamic, which requires more diversified art museum practices to inspire new creativity and imagination space.

On the afternoon of November 2, 2018, the International Art Education Conference Art Museum Forum is held in the auditorium of CAFA Art Museum. As a sub-forum of this Education Conference, CAFA Art Museum takes “Opportunities and Challenges of Art museums in the Digital Age” …

On September 8, a special forum was held in the gallery of the research exhibition of “The Land of Country Remade – New Chinese Painting Movement in the 1950s-60s”. This forum focuses on academic exchange and discussion within the same industry and is open to only a few professional media. It is the first time for CAFA Art Museum to direct this kind of symposium, by which curator Wang Chunchen hopes to make academic discussion “more relaxed, free or more real”, and also to dig deeper and find the blind spots in previous studies.