康宁祝福短片
03月19日,上海玻璃博物馆的友好兄弟博物馆美国康宁博物馆的新当代艺术馆和热玻璃演示大厅即将盛大开幕。上海玻璃博物馆特别制作了恭贺视频,祝贺我们的友好合作伙伴的未来更加美好,并期待两馆的合作。
03月19日,上海玻璃博物馆的友好兄弟博物馆美国康宁博物馆的新当代艺术馆和热玻璃演示大厅即将盛大开幕。上海玻璃博物馆特别制作了恭贺视频,祝贺我们的友好合作伙伴的未来更加美好,并期待两馆的合作。
2014年11月08日
“露华莹澈—清代/当代玻璃器物展”在上海玻璃博物馆临时展厅盛大开幕。众多的玻璃艺术家,艺术收藏家,国内各大高校玻璃工作室代表,媒体朋友以及业界人士参加了此次盛会。
这是国内首次举办的结合古今的、兼具学术性和美学的玻璃艺术专题展。由英国玻璃艺术博士、上海视觉艺术学院副教授、上海玻璃博物馆研究员薛吕担任策展人。以清代玻璃艺术实践作为脉络,邀请了16位来自美国,英国,日本,韩国、中国台湾以及中国的玻璃艺术家,从学术、艺术、设计和手工艺不同的视角,呈现了近30余件围绕“清代玻璃器物”这一主题创作的当代玻璃作品, 形成了此次独特的“露华莹澈——清代/当代玻璃器物展”,为广大的观众奉献了又一次的艺术饕餮盛宴。
清廷造办处玻璃厂在西方传教士的指导参与下创造了独具特色的玻璃颜色品种以及典雅华丽的装饰风格,推动了当时中国玻璃制作、成型和装饰技艺的发展,成就了中国玻璃艺术史的巅峰。此次展出的清代玻璃器物,无论是精美雍容的三色套料花瓶,淡雅清丽的刻花玻璃水注,还是色彩纷呈的玻璃碗组合,都体现了18和19世纪中国玻璃器的华丽之美。
此次展览的当代艺术作品更具看点。
日本艺术家AYAKO(作品:视野)从清代的圆形眼镜找到灵感,两个巨大镜片中由灯工工艺勾勒的细长玻璃画分别代表了日本人民对于世界的看法以及艺术家本人对于世界的认知,作品极具中日文化交流和意识形态的交融。
清华大学的关东海教授(作品:贮器),上海大学的王沁(作品“一枝素影”香具套组),中国琉璃网创始人牧之(作品:无相佑琉璃乳炉)以及上海视觉艺术学院及策展人薛吕(作品:器系列)的作品在继承了东方文化的沁润之美的同时,反映着当代国际玻璃工作室运动中创作思路和方法,以器造物,以物生形,以形立意,充分显示了一批学院派艺术家在东西方文化上的融会贯通和创新意识。
杨惠姗、张毅夫妇的作品“花舞鱼飞春光聚”以及“焰火禅心-菊花”,展现了中国艺术家在脱蜡铸造工艺以及与吹制玻璃工艺结合的精湛技艺,不仅体现了东方的禅意,充满了文人的哲学思想,也体现了玻璃材料所呈现的光与影的和谐,真实与虚幻的交融,完整绚丽与破碎幻灭的矛盾。而“冰花楼主” 张维用的“套料山水玻璃瓶”,无论是雕刻技艺,色彩构图,都堪称是清代套料浮雕玻璃工艺的真实传承及现代演绎。
此外,更多的艺术家在围绕“清代玻璃器物”的主题创作中,进行了材料和工艺方面的大胆创新,刘鹏(作品:静语系列之五)在材料上的结合运用,让玻璃和陶瓷两种材料共同对话;美国艺术家Ryan Staub的“觚”形玻璃器则采用了西方传统的吹制技术,根据个人的创作要求和审美需求,独创了“热融合负Murrine”技术。彭怡的算盘,采用当代灯工工艺探讨传统物品被现代工具取代的客观现实,作品体现了后现代艺术的包容性。美国艺术家MarK Hursty的压制和丝网印刷装置 “迷盒”,代表了人际关系和社会框架随着时间推移而发生的演变及变异,正如艺术家本人在中国的经历。韩国艺术家Jung-Suk Kim 的作品“GBB-1”, 将玻璃变为画布,利用窑制玻璃工艺,泼洒浓烈的色彩,通过美妙的光与影炫耀玻璃材料的透明特质。韩熙的作品“景观”注重塑造玻璃材料所构建的空间,分享艺术创作的愉悦和快乐。王铃蓁的“银河”,采用吹制和车刻技术,沿用清代玉石雕刻技艺,将吹制完成的玻璃胚体,磨刻出内层颜色,传达个人对于生命的理解。谢文蒂的“了不起的骗子”带着艺术家哲学的玩味,从玻璃材料创作在东西方际遇的不同,由此引发材料质感与情感隐喻的探讨。
30件风格迥异的当代艺术作品,体现了不同地域,不同理念,不同创作手法,不同文化,对于同一主题的不同诠释和演绎,试图通过“文化传承”的开放理念,以一种抛砖引玉的方式引导参观者和专业人士思考中国玻璃艺术的未来发展。
展览后续也将举行一系列与之相关的文化艺术活动,包括艺术家玻璃制作表演,与策展人对话,清代玻璃器赏析,清代玻璃鉴别交流活动,清代玻璃的文物保护与修复讲座等等,以此进一步推动玻璃文化和玻璃艺术在城市居民中的影响力。
此次展览是上海大学美术学院立项的“上海高校一流学科‘美术学’建设规划项目”——“中国清代玻璃艺术” 课题的成果展览,上海玻璃博物馆一直秉承着分享玻璃无限可能的理念,大力支持国内玻璃学院教学与研究,传播和弘扬玻璃艺术和文化。这次展览集合了国内外大师之作,无论从专业学术角度,还是从艺术欣赏角度,都值得潜心观赏,发人深思!
November 8, 2014
The grand opening ceremony of ‘Now & Then–Influences of Qing Dynasty on Contemporary Glass Art’ was held in the temporary exhibition hall of the Shanghai Museum of Glass. Numerous glass artists, art collectors, delegates of college glass studio, media friends and related industry representatives attended the ceremony.
This is the first academic glass art exhibition in China to combine not only the history and the contemporary, but also academia and aesthetics. Shelly Xue, PhD in British Glass Art, associate professor of Shanghai Institute of Visual Art and the researcher of Shanghai Museum of Glass, is the curator of this exhibition. 16 glass artists were invited to participate the glass art practices under the theme of Qing Dynasty glass art from United States, who are from different countries and areas like United Kingdom, Japan, North Korea, Taiwan China as well as China. The artists created almost 30 pieces of contemporary art from the perspective ranging from academic works, art, design to crafts under the theme of ‘Qing Dynasty Glassware’. This special exhibition, ‘Now &Then- Influences of Qing Dynasty on Contemporary Art’, has provided another artistic feast for the public.
Under the instruction of the Western missionaries, the royal glass workshop of the court invented unique color of glass with elegant decoration style, as well as pushed the development of Chinese glass technique, shaping and decorating techniques back then, and accomplished the peak of Chinese glass art history. The Qing Dynasty vessels which are presented in the exhibition, whether sophisticated three-colored cameo vase, beautiful engraved glass brush wash or the colorful collection of glass bowls, all embody the gorgeous beauty of Chinese glass in 18th and 19th century.
There are more highlights among the contemporary art pieces in the exhibition.
Japanese artists Ayako(Artworks: Vision) was inspired by the shape of Qing Dynasty spectacles: two giant lens, which was produced by the flame working techniques, symbolize how Japanese people might have seen the world and the artist’s cognition towards the world. This art piece fully reflects the communication between Chinese and Japanese cultures and the integration of ideology.
These art pieces, produced by Professor Guan Donghai from Tsinghua University(Artworks: Store Vessel),Wang Qin from Shanghai University(Artworks: Plain Shadow-incense set), Founder of Chinese Glass Web Mu Zhi(Artworks: Wuxiangyou Glass Incense Burner) and the curator Shelly Xue (Artworks: Vessel Series)from Institute of Shanghai Visual Art, inherit the subtle beauty of the Eastern culture and also reflect the creation theory and methods in the contemporary international glass studio movement. Creating vessels, shaping objects, establishing concept, these academic artists thoroughly reveal the integration of the Eastern and the Western culture and innovation.
‘Dancing Blooms, Spring Lights Converge’and ‘Flaming Zen Heart– chrysanthemum’, created by Yang Hui Shan and Zhang Yi symbolize the exquisite techniques in the combination with wax-lost casting and glass blowing. These two art pieces not only exhibit the Zen spirit of the Eastern, full of the philosophy idea of the scholars, but also reflect the characteristic of glass: harmony with light and shadow, the integration with real and fake, and also the contradiction between the entire and the broken. Whether is the carving techniques,the color or the shape,‘Cameo Glass Landscape Bottle’, which was produced by Bing Hua Lou Zhu Zhang Wei Yong, could be regarded as both the authentic inheritance of cameo technique of Qing Dynasty and the new interpretation in the contemporary time.
Focusing the theme of ‘Qing Dynasty Vessels’, more artists had their new and bold innovation in material and techniques field. Liu Peng (Works: ‘Spirits’Whisper Series V) made glass and ceramic to talk with each other through the combination with these two different materials. American artist Ryan Staub created Hu-shaped glass vessel by the Western traditional glass blowing technique, and what’s worth to mention that he first created a kind of technique called ‘Murrine’ to fulfill his personal working demand and aesthetic request. Produced by Peng Yi with the contemporary flameworking technique ‘Abacus Keyboard’discuss the fact of that traditional vessels has been replaced by modern tools. Her artworks demonstrate the containment and inclusiveness of post-modern art. American artist Mark Hursty used the pressed glass technique and silk-printing device to create the art piece named ‘Puzzle Box’. ‘Puzzle Box’symbolize the evolution and change of human relationship and society framework,just like the experience of him own in China. ‘GBB-1’came from the North Korea artist Jung-Suk Kim’s hands. He turned the glass into the painting canvas and utilized the kiln casting technique and strong bold colors to deliver the transparent characteristic of glass through light and shadow. Han Xi’s works ‘Landscape’ emphasize the space constructed by the glass material and share the happiness of art creation. Following the traditional jade engraving methods in the Qing Dynasty, Sunny Wang adopted glass bowing and engraving techniques to create her artworks ‘Galaxy’: applied engraving to reveal the inner colors and forms of cased glass and express personal concepts to the life. ‘A Great Impostor’, created by Xie Wendi, describes the varying fortunes of glass as medium for artistic creation in the East and the West so as to trigger the discussion about material texture and emotional metaphor.
Thirty pieces of contemporary art in entirely different style have shown various deduction and interpretation according to the same theme. For the open concept of ‘cultural inheritance’, they intend to start the discussion and lead visitors and the professionals to think about the future development of Chinese glass art.
A series of culture and art activities will be hold during the duration of the exhibition, including the artists glass making performance, Talk to the curator, Appreciation and authentication of Qing Dynasty glass Lecture, Conservation and restoration of Qing Dynasty glass Lecture, so as to further promote glass culture and glass art in the citizens.
The exhibition is the result presentation of ‘Chinese Glass Art in the Qing Dynasty’ in the ‘Shanghai Colleges First-Class Disciplines ‘Fine Arts’ Construction Planning Projects’, which is funded by the Fine Arts College of the Shanghai University. The Shanghai Museum of Glass, holding the museum philosophy and concept of ‘Sharing the Infinite Possibilities of Glass ‘, has strongly support the study and teaching of glass academic school in China and spread the glass art and culture. This exhibition gathers the artworks from the masters in the domestics and abroad. Whether from academic point or artistic appreciation, this exhibition is truly worth immersing yourself into it and contemplating the beauty of glass.
The lecture was kicked off by Teacher Deng Bin, and he stated his connection with kintsukuroi and the handcrafts. Through the different cases that are repaired, the audience can sense the loneness of the technique. Teacher Yuhui first started from different repairing methods, and then introduced the related repairing knowledge through the known repairing case of Portland bottle. She displayed the whole process of repairing hairpins through detailed pictures and full explanation, publicizing the basic rules and thoughts of restoration of culture relics. Kintsukuroi is full of casual and natural art feelings, and restoration of culture relics is precise and method-oriented, but the two ways are different methods to repairing glass hairpins.
The two-hour lecture was rewarding for audience, and they asked questions after the lecture and interacted with each other actively. Let’s look forward to the next great activity.
2014年5月18日
三年前,上海玻璃博物馆如同一个婴儿般呱呱坠地,很多人都特别惊讶的发现在上海的宝山突然诞生了一颗璀璨夺目的明珠;开馆伊始,也有很多人担心,这颗明珠是否能够一直熠熠生辉,让城市居民所发现,所认同和所喜爱。
三年来,上海玻璃博物馆人在创始人即执行总裁张琳先生的带领下,专注并极力打造这个有着时尚现代的气息,美学和艺术兼备,互动体验型的精致的博物馆。这个身居上海北面的博物馆,每天吸引着来自海内外的参观者以及全市各个区域的城市居民前来探索玻璃之美,享受博物馆所给他们的别样的体验。
在此,我们很高兴能与您分享我们的喜悦,与您共同回顾上海玻璃博物馆三周年庆典的精彩瞬间!
感恩过去,六年前,一个对玻璃有着伟大热情的团队开始了他们的追梦之旅,在历经多少个日夜的专注与坚持后,终于在三年前的今天,实现了在中国创建首个玻璃博物馆这一不同寻常的梦想。开馆以来,秉承着“分享玻璃无限可能”的理念,上海玻璃博物馆不断实现自我突破,逐渐成长为一个互动体验型的国际化、社区化博物馆。开馆仅仅半年后,上海玻璃博物馆与国家博物馆、秦始皇兵马俑博物馆一起被美国有线电视新闻网CNN旗下网站评选为“中国三大不容错过的博物馆”,对于这个崭新的博物馆来说,是莫大的肯定和荣耀。
追梦的历程离不开众多“助梦者”的支持,借此三周年庆典之际,上海玻璃博物馆执行总裁,董事会主席张琳先生对所有帮助过博物馆成长的个人、公司、团体以及政府表示衷心地感谢,对过去三年喜欢并花钱花时间参观过上海玻璃博物馆的约二十五万观众表示衷心地感谢,对实现梦想并为之付出的博物馆全体员工表示衷心感谢。
同时,在三周年庆这一特殊的时刻,张琳先生亦对为博物馆提供展陈设计的公司“协调亚洲”以及他们的执行董事Tilman先生表示特别感谢,他的“成长型博物馆”理念影响着上海玻璃博物馆在实践中不断得到丰满,亦使张琳先生对当今中国需要怎么样的博物馆有了进一步的思考与探索。
理想中的博物馆是可供城市居民互动、体验和分享的空间,它不止于传统意义上集研究、展示、教育等功能为一体的“冷冰冰”的机构,更须要具有城市居民参与,人与博物馆紧密依靠的特征。博物馆的社会职能更多的应体现在提升城市居民的归属感,拉近与大众的距离,其终极目标是营造一种博物馆的生活方式。
完美呈现,上海玻璃博物馆为三周年生日,特意为所有热爱并支持上海玻璃博物馆的朋友们准备了古玻璃特展“润物瑶辉御制凝器–18世纪中国清代宫廷玻璃鼻烟壶展”。六十余件精美绝伦的清代宫廷顶级玻璃鼻烟壶,以独具风格的展陈方式展示在公众面前,初露华彩。
本次展览由上海玻璃博物馆主办,得到了国内鼻烟壶收藏大家的极大支持,同时,观复博物馆和观复宝库作为展览协办方,充分体现了民办私人博物馆和民间收藏力量的集合力量;图片和资料方面也得到了故宫博物院和有关专家的倾力支持,展览设计由德国协调亚洲完成。上海玻璃博物馆秉承分享玻璃的无限可能,将持续发挥文化和艺术的平台的效应,不断为广大城市居民奉献高质量的玻璃文化饕餮之旅。
敬畏未来,上海玻璃博物馆引领社区化博物馆生活方式的脚步不会停歇,秉承“分享玻璃无限可能”的理念,博物馆园区”乐享博物馆生活方式“的新项目即将面向公众。在这值得庆祝的日子,上海玻璃博物馆高层特此召开新闻发布会,回顾这三年来的成就以及博物馆园区未来两年的创意蓝图。
依伴于这个被美国CNNGO评为“中国最不容错过的三个博物馆之一”的上海玻璃博物馆将通过将通过对“玻璃”这一主题的演绎来呈现全新概念的梦幻般婚礼殿堂、创意婚庆花园以及极具现代感的水晶教堂。目前正在建造中的创意婚庆花园将于2014年底揭开面纱,在独具梦幻水晶特色的建筑空间里,城市居民可以举行个性化婚礼仪式,让博物馆生活方式得到浪漫延伸。上海玻璃博物馆还将启动儿童馆项目,一个国内首创的玻璃博物馆儿童馆将在不久的将来在博物馆园区诞生。
博物馆是城市的文化名片,作为收藏人类文化的殿堂,博物馆在社会发展的进程中,从某种意义上说,具有文化坐标的性质。无论是现在已建成的上海玻璃博物馆,还是未来将要落成的创意婚庆花园、上海玻璃博物馆儿童馆等区域,它们都与“城市生活”息息相关,结合博物馆的氛围及重点关注人群的走向,形成以情感为需求的独特魅力,即现代人对“幸福感”生活的追求和营造。
更多博物馆新项目信息,敬请期待后续报道!