当代中国博物馆建筑的十二种呈现”展

                
                
参展情况：“蜃景——当代中国博物馆建筑的十二种呈现”展
时 间：2013年5月17日-2013年6月17日；地点：上海当代艺术博物馆
参 展 人：同济.原作设计 章明/张姿
作 品 名：大的•小的
形 式：模型、装置
尺 寸：12m × 12m
材 料：各异
年 份：2013
说 明：
2010年 中国博物馆总数——3020座
2011年 中国博物馆总数——3415座/年增395座/平均每天新增一座博物馆。
2012年 中国博物馆的总数——3589座/其中独立的公益性艺术家个人美术馆不足100座，约七成为面积不足4000平米的小型展馆。
我们选择大的，是否意味着我们的思维始终处于模式化的价值观念的循环之中？更多聚焦在强势文化的单向输出上，而失去了反映日常影响力、个性化表述以及文化反思的能力？
我们选择小的，是否意味着我们的思维始终沉浸于内向的体系自循环之中？更多聚焦在个人的价值取向与自我表述上，而忽略了对社会影响力、群体表述及文化基层的思考？
在一个张力体系的两个尽端，大与小依然对峙着……
                
                
展览介绍：
博物馆建筑在呈现景象之余自身也往往成为城市的景象，这形成了一种复杂的观看与被观看的关系。景象在叠加中模糊并形成光晕，在饥渴消费景象的现代社会中，这些带着光晕的博物馆就不可避免成为被赋予神圣意义的物体而非场所而得到崇拜，建筑师也往往以博物馆建筑的设计机遇为荣。
与中国迅猛的城市发展速度同步，近年来博物馆建筑同样以令人难以置信的速度在各地被建造，其中不乏优秀之作。但正是这样一种近乎疯狂的规模与数量让我们感到难以在这里用一种传统的建筑展览方式去表现这个话题，我们或许可以通过模型，照片，图纸去呈现其中一鳞半爪，却不足以探讨这个宏大景象背后的深层问题：博物馆建造与使用、公共空间与私人领域、呈现与观察、事件性与日常性。。。
所以，在这次展览中，我们试图呈现而非再现，让十二组建筑师或艺术家以博物馆为题，用泛视觉艺术的方式，以自己的角度去重新表述博物馆建筑。
我们期待透过这个展览能够引发更加积极深刻的批判态度，而不是对博物馆建造太快太多的简单肤浅的批评抱怨。我们承认高速大规模的建造活动对建筑师而言是挑战更是一种难得的创作机遇，同样，我们期待这样的大规模建造现象也能够给建筑界，文化界，以至广泛大众带来深度思考的机遇。透过这幅宏大绚丽的蜃景，让更多的人看到我们拥有着什么，将得到什么，这将是我们呈现这个展览的最大收获。
                
                
Participated Exhibition:
SPECTACLE-12 Presentations of Contemporary Museum Architecture in China
Time: 17 May, 2013-17 June, 2013; Venue: Shanghai Power Station of Art
Participant：Tongj-Original Design ZHANG Ming/ZHANG Zi
Project Name：Largeness•Smallness
Format: model, installation
Size：12m × 12m
Material：various
Year：2013
Description:
China had 3020 museums in 2010. This number increased to 3415 in 2011, which means 395 new museums were completed within one year, one for each day. Up to 2012, there have been 3589 museums in China. Among them, only 100 are non-profit, private museums, and 70% of them are small-scale exhibition halls occupy an area of no more than 4,000m2.
It seems that Largeness and Smallness are the two prevailing yet opposite trends in today’s museum architecture design. On one hand, the “museum of largeness” tends to establish the national identity, create the “temple of art”, and export a dominant culture, but to certain degree, it overlooks daily life, ordinary people, and self-reflection. On the other hand, the “museum of smallness” pursues self-expression, art autonomy, and personal sensibility, but it usually turn back to social issues, public opinions, and the fundamental cultural problems. This installation presents the tension and juxtaposition of the two extreme trends, and reflects on both...
Exhibition introduction：
Museum presents spectacle as well as being a spectacle in the city. This creates the intricate relationship of watching and being watched. Spectacles overlap and blur, creating the halo of the museum architecture. In modern society which is desperately eager to consume spectacle, museum as a haloed spectacle has increasingly become the object to be worshipped rather than a place for worshipping. Partly for this reason, Museum projects are also considered as most desired and proud of opportunity to architects.
In the past few years, new museums have been constructed all over China in an unprecedentedly quantity and scale. As excellent works are emerging, we found it a critical moment to reflect on such new museum architecture. However, the conventional way of architectural exhibition, with models, photographs, or drawings, can only display piecemeal vignettes of the selected works rather than their potential role in contemporary China. We now need to explore new methods to investigate the social, cultural, and political transformation underlying the quantitative expansion, such as construction and usage, public and private, representation and observation, event and daily life, etc.
So we put together here presentations instead of representations in this exhibition. 12 architects/artists (groups) are invited to approach the topic of museum architecture in visual ways from a diversity of perspectives
The primary purpose of the exhibition is to stimulate more deep thoughts and critical reflections on the new museum architecture rather than repeating superficial complains about the over-speed or over-quantity. The large-scale construction activities in China today are both challenge and opportunity to the architects. It is also a critical moment for the architecture circles, cultural circles, and the public to reconsider and re-assess architecture and urbanism. We do hope that the visitors can look through this gigantic and splendid mirage composed of any kind of spectacle shown in the exhibition, and start to think more about what we have had, and what we are pursuing.