2018年上海玻璃博物馆“退火”项目正式揭幕

2018年11月05日

11月5日，“物镜——刘建华个展”和“塞上——孙逊个展”在上海玻璃博物馆正式开幕。作为上海玻璃博物馆本年度的“退火”项目，艺术总监李力邀请了艺术家刘建华和孙逊以玻璃为媒介材料进行最新创作。本次两位艺术家的个展呈现于博物馆最新改造的当代艺术空间中，展览将持续到2019年5月31日。

当日下午一点半，2018年“退火”项目的新闻发布会于上海玻璃博物馆的爱庐彩虹礼堂举行，上海玻璃博物馆馆长张琳，“退火”项目艺术总监李力，艺术家刘建华和孙逊出席了本次新闻发布会。上海玻璃博物馆馆长张琳谈到，“退火”项目今年迎来了第五周年，他也期待今后能够与更多的当代艺术家展开合作，希望玻璃与当代艺术的联系能够不断地延续下去，从而为公众展现出玻璃的无限可能性。

李力作为“退火”项目的艺术总监，向媒体朋友们介绍了“退火”项目的起源和发展。她在新闻发布会现场表示，作为策展人，她并不为艺术家设置创作的规则和边界，而是鼓励他们利用相对不熟悉的玻璃材料大胆而自由的创作。今年呈现的两场展览，对两位艺术家而言都是首次用玻璃进行创作，她在策展过程常常感受到强烈的颠覆性，对未完待续的“塞上”展览下集她也抱有许多期待。

艺术家刘建华谈到，在项目启动至今将近一年的时间里，创作过程充满了纠结、艰难和各种偶然性。虽然陶瓷和玻璃在材质和特性上有许多共通性，但他仍然感受到了二者之间的明显区别，面对玻璃时陌生、不可控的感觉对他而言也是一种特别的享受。

艺术家孙逊表示，当李力向他提起“退火”项目时，他对这样的创作表达了强烈的兴趣。他希望能够从玻璃这个完全陌生的媒介中找到自己过往创作的核心，与玻璃的这次“对话”也带给孙逊许多启发和挑战。而谈及未来的期待时，他表示，希望“退火”能够坚持自己的实验性，以及纯粹的艺术性。

艺术家刘建华选用了血红色和黑色玻璃作为《碑》、《黑色形体》和《呼吸的风景》三组作品的创作媒材，意在打破人们对玻璃的既定认知。半开放状态的展厅将窗外风景的自然流动与展览场域融为一体，而当观众踏入这个地上布满碎玻璃的展厅时，“物镜”将会触发他们从视觉、听觉、触觉到心灵层面的共通和思考。

“塞上——孙逊个展”展出于当代艺术空间的一楼，本次展出的部分为展览上集，包括艺术家的系列手稿、绘画、动画影像以展示艺术家对于新创作的思考脉络，下集则将于明年三月揭开神秘的外衣。

感谢各位嘉宾、艺术家和媒体朋友莅临“退火”项目的开幕式，共同见证上海玻璃博物馆以更多元的姿态和身份，正式迈出跨向当代艺术领域的脚步。展览将于明日起正式向公众开放，并将持续至2019年5月31日。

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2018 Annealing Project is Unveiled in Shanghai Museum of Glass

November 5，2018

Mirror Effect and Frontier, the individual exhibition of LIU Jianhua and SUN Xun opened on January 5th 2018 respectively. As the 2018 ANNEALING Project of Shanghai Museum of Glass, Lise LI, the project art director, invited artist LIU Jianhua and SUN Xun to create their latest artwork with the media of glass. The two exhibitions are presented in the renovated art space in the museum. The exhibition will last until May 31st 2019.

The press conference of 2018 ANNEALING Project was held in the Rainbow Chapel at Shanghai Museum of Glass, with the attendance of museum director ZHANG Lin, ANNEALING Project art director Lise LI and artists LIU Jianhua and SUN Xun. In the press conference, the museum director Zhang Lin stated that 2018 was the fifth year of the ANNEALING Project, thus he hoped the Project could cooperate with more contemporary artists, and the connection between glass and contemporary art would be continued, in order to present the infinite possibilities of glass to the public.

As the art director of ANNEALING Project, Lise LI introduced the origin and development of the project. LI stated that, as the curator, she would not set any regulations or boundaries to creation and she would encourage the artist to work boldly and freely with glass, an unfamiliar new material to the artists. In the exhibitions presented, both LIU Jianhua and SUN Xun are the first time to work with glass. Thus LI felt a strong subversive-ness in the process of curation and she had a high expectation on the coming part II of the unfinished exhibition Frontier.

LIU Jianhua mentioned that, in the one year since the beginning of the project, the creation process was full of confusing, difficulty and serendipity. Even though there are many common characters between ceramics and glass in materiality, he still experienced the sharp difference between the two materials, and the unfamiliarity and uncontrollability when work with glass is a special enjoyment to him.

SUN Xun expressed that, when Lise LI introduced the ANNEALING Project to him, he was deeply interested in this unique creation method. He wanted to reframe the core in his previous works through a completely unfamiliar material, glass. And this “dialogue” with glass brought many inspirations and challenges to him as well. When talking about the future expectations, SUN Xun expressed that he hoped the ANNEALING Project could insist its experimentalism and pure artistry.

LIU Jianhua chooses dark red and black glass as the material of three sets of works, Monument, Breathing Scenery and Black Body, which aims to break the existed understanding of glass. The half opened exhibition hall brings the out-window scenery into the gallery space, and when visitors step on the floor that full of broken glass, Mirror Effect would intrigue their sense and reflection in visual, acoustic, sense and mental level.

Frontier, the individual exhibition of SUN Xun locates on the ground floor of the contemporary art space in Shanghai Museum of Glass. It is the part I of the whole exhibition, including the manuscripts, drawings, and animated videos, showing artist’s threads of thoughts on the new project, and the part II will be unveiled in March 2019.

Thank the guests, artists and media friends for attending the opening of the ANNEALING Project, witnessed the Shanghai Museum of Glass taking the step into the field of contemporary art with  more diversified identity. The two exhibitions will open to the public until May 31st 2019.

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上海玻璃博物馆成为上海博物馆协会副会长单位

2018年10月24日

2018年10月24日下午，上海文物博物馆学会第六届第一次会员代表大会暨上海市博物馆协会成立大会在上海博物馆举行，上海市文化广播影视管理局、上海市文物局副局长褚晓波，文博学会第五届理事会理事长陈燮君，副理事长兼秘书长陈克伦，上海市博物馆协会筹备小组组长杨志刚，副组长李峰，以及186名会员代表出席了大会。

大会分上下半场。大会上半场审议并通过了《上海文物博物馆学会第五届理事会工作报告》和《关于上海文物博物馆学会第五届会员代表大会召开以来的财务收支情况的报告》，投票表决通过了《上海市博物馆协会章程》和会费标准，同意“上海文物博物馆学会”变更为“上海市博物馆协会”。选举产生了由杨志刚等17名同志组成的新一届理事会和由李仲谋等3位同志组成的监事会。大会中场休息时，分别召开了上海市博物馆协会第六届理事会、监事会第一次会议，理事会、监事会选举产生了班子成员，上海博物馆馆长杨志刚任会长、陈云纪念馆党委书记、馆长陈麟辉、上海博物馆副馆长李峰、上海玻璃博物馆馆长张琳任副会长，上海博物馆副馆长李仲谋任监事长，协会理事会聘任李峰为秘书长。

上海博物馆协会将利用社团组织的优势加强博物馆行业建设、促进本行业发展，并代表协会第六届理事会、监事会向大会郑重承诺：严格坚持办会宗旨，在市文广影视局、文物局、社团局的业务指导下，积极发挥协会的桥梁与纽带作用，开拓创新办会理念、推进相关学术活动、提升服务能力，为完善上海公共文化服务体系，丰富市民文化生活做贡献。

上海玻璃博物馆常设陈列获得德国标志性设计奖

2018年10月09日

2018年10月9日，上海玻璃博物馆展览设计荣获了德国标志性设计奖2018创新建筑最佳设计奖。奖项由德国国家设计委员会执行总裁安德鲁•库佩兹，在德国慕尼黑现代艺术陈列馆的红毯宴会典礼上颁发与上海玻璃博物馆执行总裁张琳先生与博物馆艺术总监迪尔曼•图蒙先生。

德国标志性设计奖由德国设计协会设立，这一奖项是首个关注世界范围内跨领域设计的独立奖项。该奖项表彰在广义建筑语境内的所有设计，横跨实验性项目，商业建筑和制造产业，内容涵盖建筑、创新性产品以及可持续交互，具有相当重要的学术性和国际性。

德国标志性设计奖的评审团给予了上海玻璃博物馆展览设计极高的评价：

上海玻璃博物馆被公认为是中国的领先博物馆之一。令我们特别印象深刻的是，玻璃的主题以一种极具艺术性和教育性的方式呈现给观众。展陈内容不仅涵盖了玻璃的各个方面，而且也涉及到它从石英砂到熔化、成型和碎片的各种聚合状态。这是一个将现代科技与经典展品陈列概念完美结合的案例。个别区域的设计也处理得非常精妙。光，作为一个重要元素，被运用得惟妙惟肖。项目以强有力的博物馆概念为主导，巧妙融合了戏剧元素。

On 9th October, 2018, the exhibition design of Shanghai Museum of Glass was awarded the ICONIC AWARDS, Innovative Architecture “Best of Best” project by Andrej Kupetz, the CEO of the Executive Board of the German Design Council in the Pinakothek der Moderne at Munich. Zhang Lin, the president of Shanghai Museum of Glass and Tilman Thürmer, the art director of Shanghai Museum of Glass received the accolades.

Established by the German Design Council, the ICONIC AWARDS is the first independent international architecture and design competition to take into account the interplay between the various disciplines. Awards are given to visionary buildings, innovative products and sustainable communication in all sectors of architecture, the construction and real estate business and the manufacturing industries.

The jury statement comments the exhibition design as below:

The Shanghai Museum of Glass is rightly regarded as one of China’s leading museums. We were particularly impressed by how the subject of glass is conveyed to visitors in an extremely artistic fashion that is also highly educational. Thus, glass is represented not only in all its facets, but also in its various states of aggregation – from quartz sand to melting, moulding and shards. This is accomplished using modern technology, hand in hand with the classic concept of the exhibit as a real, tangible object. The design of the individual areas is also handled extremely well, with the theme of light obviously playing at least as important a role as glass itself. An incredibly strong museum concept, which visibly draws on a creative investigation of theatrical elements.

上海玻璃博物馆执行总裁张琳先生受邀参加IGS2018

2018年10月4日

2018年10月4-7日，上海玻璃博物馆执行总裁张琳先生受捷克布拉格国家工艺美术馆馆长Milan Hlaves先生邀请，前往捷克Novy Bor参加今年举办的国际玻璃论坛，以下简称IGS（International Glass Symposium）。

IGS与此次举办地Novy Bor自1982年起就紧密相连，当地玻璃制作公司Crystalex开始邀请来自世界各地的艺术家和设计师，到访当地的工厂，与经验丰富的玻璃工匠见面，将艺术家和设计师脑中抽象的想法变为现实。自此，IGS每三年在当地举办一次。在今年的10月初，Novy Bor再次举办了第13届国际玻璃论坛，论坛已然成为世界级的玻璃盛世，象征着玻璃艺术的业内聚会、创意作品以及新的可能性。数以百计的著名玻璃艺术家来到Novy Bor，与工厂的密切而良好的合作，不仅促进了当地玻璃制作的发展，向世界推广捷克玻璃和玻璃工艺，更重要的是这也代表了当代政府保护重要文化遗产的决心和努力。

张琳先生在此活动上与来自世界范围内的重要玻璃艺术家进行了交流和沟通，为后续上海玻璃博物馆与捷克玻璃艺术界合作奠定了良好的基础。

SHOMG WAS INVITED TO ATTEND IGS2018

October 4th, 2018

Between October 4th and 7th, Mr. Zhang Lin, director of the Shanghai Museum of Glass, attended the 2018 International Glass Symposium (hereafter IGS) held in Novy Bor, Czech Republic, under the invitation of Dr. Milan Hlaveš, director of the Museum of Decorative Arts in Prague (Uměleckoprůmyslové museum).

IGS has been connected with the venue city Novy Bor since 1982, when the local glass manufacturer Crystalex began to invite international artist and designer to local factory, to meet the experienced technicians and to transform the abstract concept into reality. Since then, IGS have been held in Novy Bor triennially. At the beginning of October 2018, Novy Bor held the 13th IGS, which already became a world-class glass event and symbolized the industry gathering, the creativity and the new possibility of glass. Hundreds of famous glass artists came to Novy Bor and collaborated with local factories. This collaboration not only improved the development of local glass manufacturing and promoted the Czech glass to the rest of world, but also symbolized the determination and effort of protecting the local cultural heritage by local government.

Mr. Zhang Lin interacted and communicated with glass artists from all over the world in this event, and this communication shall provide a good basis for further cooperation with the Czech glass artists.

上海玻璃博物馆受邀参加Glass Nexus2018论坛

2018年8月5日

2018年8月4日-5日，上海玻璃博物馆受邀参加North Lands Creative举办的Glass Nexus 2018年论坛。上海玻璃博物馆执行总裁张琳先生在论坛上进行了发言，发言中介绍了上海玻璃博物馆发展历程和近年来重要的当代艺术项目“退火”。

在为期两天的论坛中，上海玻璃博物馆与世界范围内玻璃艺术家、文化机构与教学机构进行了充分沟通。此次论坛将促进上海玻璃博物馆的国际化交流，发挥博物馆平台效应，在成为“影响世界的博物馆”道路上迈进更为扎实的一步。

此次论坛主席由美国玻璃艺术家，前RIT玻璃专业系主任Michael Rogers担任，与North Lands Creative主管Karen Philips共同组织，论坛参与者包括美国康宁玻璃博物馆热玻璃工作室主管Amy Schwartz，策展人Susie Silbert，首席科学家Jane Cook博士，Berlin Glass主管Nadania Idriss，布拉格国家工艺美术馆馆长Milan Hlaves，拉脱维亚艺术学院玻璃艺术系教授Inguna Audere博士，英国艺术家Karyln Sutherland，Jeff Zimmer，Amanda Simmons以及Emma Baker等。

SHMOG was invited to attend the Glass Nexus 2018 Forum

August 5, 2018

On August 4^th-5^th, Shanghai Museum of Glass was invited to attend the wonderful event Glass Nexus 2018 forum held North Lands Creative. Mr. Zhanglin delivered a speech on the forum to introduce the recently development of museum and the contemporary project “Annealing”.

During the two-day forum, Shanghai Museum of Glass has built a firm relationship and communication with all the artists, cultural facilities and educational program. Shanghai Museum of Glass will take the role to engage more into the international glass art community.

Glass Nexus 2018 was co-organized by Michael Rogers, American glass artist, former director of glass art department of RIT, and Karen Philips, the CEO of Northlands Creatives. Other keynotes lectures are including: Amy Schwartz, the head of studio from Corning Museum of Glass, Susie Silbert, the curator and Dr. Jane Cook, chief scientist, as well as Nadania Idriss, the head of Berlin Glass, Milan Hlaves, the director of Decorative Art Museum of Prague, Dr.Inguna Audere, the professor of Glass Art Department of Art Academy and UK artists Karyln Sutherland, Jeff Zimmer, Amanda Simmons and Emma Baker and etc.

突破于“打破”之中

2018年6月23日

2018年6月23日，上海玻璃博物馆迎来了自己的第七个周年庆，作为博物馆于七周年生日之际的倾情献礼，年度特展“破碎”（BRKN）也于同日惊艳揭幕。来自国内外的众多艺术、设计及文化界嘉宾与上海玻璃博物馆共同度过了这一非凡而又难忘的时刻。

继2015年的国际创意玻璃设计展第二季（Keep it Glassy 2），2016年的设计新馆（Design Wing）之后，展览“破碎”（BRKN）是上海玻璃博物馆时隔两年，基于“设计”这一方向，从全新的理念、视角和工作方式策划并呈现的耳目一新之作。在某种程度上，这是一场具有颠覆性和开创意义的展览，并拥有着一个非同寻常的内核——基于对玻璃的固有特性：“脆弱”及“易碎”的开放诠释，展览极大地拓展了玻璃原有的定义和格局，在将“物”和“人”，乃至人的情感进行联结的同时，更对当下的时代、社会乃至人们的精神世界进行了更深层次的探讨和反思。

自2011年开馆以来，上海玻璃博物馆通过持续呈现高品质的玻璃艺术及设计展览，不断巩固并提升着自身在国内外从博物馆、到玻璃艺术及设计圈的影响力和美誉度。但玻璃作为一种相对小众的材质，其辐射力和受众面始终存在着较大的局限，且国内的玻璃艺术也正处于成长和发展阶段，尚不足以形成较大的社会影响力。然而面对日新月异的社会和公众需求，展览——作为博物馆的立馆之本之一，如果没有能力挣脱枷锁、打破限制，去实践并创造一些让人眼前一亮的崭新事物，我们将很有可能会被迅速地遗忘和淘汰。同时，玻璃本身作为一种蕴含着无限可能的材料，我们对它的探索和诠释也同样尚有拓展空间。因此，更需要突破思维的局限，勇于去尝试一些不同寻常的方式，“打破”玻璃固有的封闭和局限性。

作为上海玻璃博物馆于“七年之痒”之际呈现的全新年度特展，这一名为“破碎”（BRKN）的展览虽然在血脉上被归为“国际玻璃创意设计展”（Keep it Glassy）的第三个系列。但事实上，作为一个“概念”上的设计展览，“破碎”（BRKN）已经远远跨越了设计类展览的范畴。设计——无论是设计一个产品、一套标识，亦或一种流程，都旨在解决现实生活之中的某个具体问题或困难；而展览“破碎”（BRKN），更意在去回答和解决一些更为抽象和复杂的政治、文化与社会问题或困局，迈向了更为宏大的方向。

同时，作为博物馆本身，我们也希望通过这一展览，非常坚定地向外界传达一个讯息：上海玻璃博物馆不仅一直都在创造着一些崭新的事物，更永远不会满足于在对过往模式和经验的简单承袭中重复自我，进行“表皮”的更新——我们有勇气在对博物馆之“自我”和“过去”的打破中，进行更深层次的创新和“骨血”的替换。

 Breakthrough in BRKN

2018年6月23日

On June 23, 2018, the Shanghai Museum of Glass ushered in its seventh anniversary. The annual special exhibition “BRKN”as a birthday gift to the museum was also unveiled on the same day. Visitors from the arts, design, and cultural sectors at home and abroad have spent this extraordinary and unforgettable moment with the Shanghai Museum of Glass.

Since opened in 2011, the Shanghai Museum of Glass has continued to present high-quality glass art and design exhibitions to continuously consolidate and enhance its reputation and influence on museums, glass art and design sectors around the globe. However, glass, as a relative niche material, has always had a large limitation in its audience. Moreover, the internal glass art is still in the development stage. Thus, the power of social influence is not yet sufficient. However, in the face of the ever-changing society and the public demand, if we are unable to throw off the shackles of those limitations that we are facing and create something new that surprising people, we will be quickly forgotten and eliminated otherwise. Meanwhile, glass as a material with infinite possibilities, we definitely have further ways to explore and interpret it. Therefore, it is necessary for breaking through the limitations of thinking and daring to have a new trial, and “breaking” the existing isolation and limitations of glass.

Although“BRKN” as the new annual special exhibition by Shanghai Museum of Glass is classified as the third series of “Keep it Glassy”, in fact, as a design exhibition emphasizes on “concept”, ” BRKN” has far exceeded the scope of design exhibitions. Designing – whether it is to design a product, a set of logos, or a process, is designed to solve a specific problem or difficulty in real life. But the exhibition “BRKN” is more intended to answer and to solve some of the abstract and complex political, cultural and social issues or predicaments that tend to be more ambitious in the future.

At the same time, we also in the hope of sending a message to the outside world with great determination through this exhibition: The Shanghai Museum of Glass has not only been creating new things, but we will never satisfied with the past achievement. Furthermore, we all have the courage to make deeper innovations and whole replacements but not only the ostensibly change so as to break free from the museum itself and of the past.

国际博物馆协会主席代表Carina Jaatinen参观上海玻璃博物馆

2018年5月20日

5月18日是一年一度的“国际博物馆日”，此次国际博物馆日中国主会场在上海举办。“国际博物馆日”期间，上海迎来了众多国内外博物馆从业人员，协会成员与博物馆爱好者。5月20日，上海玻璃博物馆有幸迎来了国际博物馆协会代表Carina Jaatinen女士前来参观。Carina女士在规划设计总监俞旭陪同下兴致勃勃地参观了上海玻璃博物馆及其所在园区，并对博物馆七年来取得的成就表示祝贺和认可。

此次“国际博物馆日”主题定为“超级链接的博物馆：新公众新方法”。一方面，互联网的发展及其引发的变革，推动了博物馆功能的不断拓展，从单纯收藏研究到重视文化教育，实现线上线下联动和智慧服务，更好地吸引被称作网生代的新观众。另一方面，走进博物馆的观众身份更加多元，逛博物馆已经成为人们的一种生活方式。自2011年建馆以来，作为博物馆生活方式的倡导、分享和引领者，上海玻璃博物馆的“生活方式”也随着园区规模的不断扩大，在从主场馆，到儿童玻璃博物馆、彩虹礼堂、玻璃迷宫等等全新功能单元的拓展中得到了无限延伸。秉持“成为一个影响世界的博物馆”的愿景，张琳先生带领团队，在求新创变，追求卓越之中，将一个冷冰冰的旧工业园区改造成了一个持续成长着的多功能博物馆园区，处处体现并分享着后工业时代的精致生活美学。

在新语境新背景下，上海玻璃博物馆将秉持“超级链接”的开放心态和精神，与更多领域发生跨界合作，与更多样观众进行沟通，展现上海玻璃博物馆独有的活力与激情。

The Delegation of ICOM, Ms.Carina Visited SHMOG

2018年5月20日

On May 18th, it is the annual “International Museum Day”. During “International Museum Day”, Shanghai has welcomed many domestic and foreign museum practitioners, association members and museum lovers. On May 20, the Shanghai Museum of Glass was honored to welcome Ms. Carina, the representative of the International Museum Association, to visit us. Ms. Carina accompanied the planning and design director Yu Xu happily to visit the Shanghai Museum of Glass and its park and expressed congratulations and recognition on the achievements of the museum over the past seven years.

The theme of the “International Museum Day” was ” Hyperconnected museums: New approaches, new publics”. On the one hand, the development of the Internet and the changes it triggered have driven the continuous expansion of museum functions, from simple collection research to cultural education, online and offline linkages, and smart services, to better attract new ones known as net generations. Audience. On the other hand, the identity of the spectators entering the museum is more diverse and visiting the museum has become a way of life for people. Since its establishment in 2011, as the advocator, sharer, and leader of the museum’s lifestyle, the “lifestyle” of the Shanghai Museum of Glass has grown with the scale of the park, from the main stadium to the Kids Glass Museum, Rainbow Hall, and glass. The development of new functional units such as mazes has been extended indefinitely. Adhering to the vision of “becoming a museum that affects the world”, Mr. Zhang Lin led the team to transform a cold old industrial park into a multi-purpose museum park that is constantly growing, seeking innovation and innovation. Embodies and shares the refined aesthetics of the post-industrial era.

In the new context of the new context, the Shanghai Museum of Glass will adhere to the “hyperlink” of the open mind and spirit, cross-border cooperation with more areas, and communicate with more kind of audience to show the unique vitality and passion of the Shanghai Glass Museum .

GAS2018年会于威尼斯穆拉诺如期举行

2018年5月16日

2018年5月16日至5月19日，Glass Art Society（玻璃艺术协会，以下简称GAS ）于意大利穆拉诺召开。Glass Art Society（玻璃艺术协会，以下简称GAS）成立于1971年，是世界上非常重要的非营利艺术组织。GAS旨在鼓励、超越、推广、教育、发展玻璃艺术并支持所有利用玻璃这种材质进行创作的艺术家。每年，GAS都会从世界范围内选择会议召开地。而今年，GAS以“玻璃之路”（The Glass Path）为主题，来到了具有相当意义的意大利威尼斯穆拉诺。借由这次会议举办地的特殊性和重要性，今年的GAS年会迎来了一千多名参会者。

在此次重要的国际会议上，上海玻璃博物馆执行总裁张琳先生应邀出席，并与世界范围内的玻璃艺术家、博物馆从业人员、画廊代表以及策展人进行了充分交流，包括意大利玻璃艺术家Lino Tagliapietra，美国玻璃艺术家Katherine Gray，Nancy Callan，Michael Rogers，澳大利亚玻璃艺术家Richard Whitteley，Mel Douglas，加拿大玻璃艺术家Laura Donefer，日本玻璃艺术家Nick Sasaki，布拉格工艺美术博物馆馆长Milan Hlaves博士以及策展人William Warmus。在为期四天的国际会议中，不仅有丰富的艺术家现场制作演示、策展人对谈以及讲座，最受关注的活动之一是由加拿大玻璃艺术家Laura Donefer组织的“玻璃时装秀”（Glass Fashion Show），此次“玻璃时装秀”首次地将T台改到穆拉诺小岛的河道上，超过15位玻璃艺术家身着奇异大胆的玻璃服饰于当地传统的贡多拉小船上进行走秀，向所有观者展现了玻璃艺术家的创造力和活力，将整场会议的气氛推向了高潮。

此外，不久前于上海玻璃博物馆举办个展的中国玻璃艺术家杜蒙，作为此次会议Emerging Artist Panel的入选者也于会议上进行发言，介绍了此次在上海玻璃博物馆的展览《间》。

作为GAS的一员，上海玻璃博物馆始终以开放态度融入世界玻璃艺术之中，努力践行博物馆“国际化”特点，充分发挥博物馆平台作用与世界玻璃艺术与文化机构个人进行交流。

GAS 2018 Conference was held at Murano

May 16, 2018

During May 16-19, Glass Art Society was held its annual conference at Venice, Italy. Founded in 1971, Glass Art Society is a non-profit, international organization whose purpose is to encourage excellence, to advance education, to promote the appreciation and development of the glass arts, and to support the worldwide community of artists who work with glass. And this year, the theme of the conference is “The Glass Path and moved to Murano, which is a meaningful destination of all the glass lovers. Because of the importance and specificity of this conference, over a thousand participants attended this conference.

On this international conference, Mr.Zhang Lin, the president of Shanghai Museum of Glass was invited to attend this big event and made a nice communication with the glass artists around the world, museum professionals, galleries and curators, including Lino Tagliapietra, Katherine Gray, Nancy Callan, Michael Rogers, Richard Whitteley, Mel Douglas, Laura Donefer, Nick Sasaki, director of the Prague museum of arts and crafts, Dr Milan Hlaves, and curator William Warmus. During the four-day conference, one of its highlights should be the Glass Fashion Show organized by Laura Donefer. Over 15 glass artists wore their hand made glass costumes and ‘walk ’on the Gondola along the canal of Murano. This amazing event just lit up the whole conference and put a perfect ending of GAS 2018.

As a member of the GAS, the Shanghai Museum of Glass is always with an open attitude into the world of glass art, fulfill the museum “internationalization” characteristics, give full play to their role as the museum of platform with glass arts and culture.

此间，我们看见了好几个世界

——杜蒙国内首展《间》在上海玻璃博物馆开幕

2018年4月29日

在2018年的这个春天，上海玻璃博物馆很高兴地宣布将于2018年4月29日至10月29日举办艺术家杜蒙的首场国内个展——《间》。开馆七年以来，上海玻璃博物馆始终坚持并致力于支持国内青年玻璃艺术家的个人发展，并鼓励他们以更加大胆、创新、忠实自我的方式去创作和呈现，从而在推动国内玻璃艺术发展并促使其有所突破的同时，也让展览和作品更加贴近当下的时代面貌及人们的精神世界。对于博物馆而言，我们始终希望借由艺术这一放大镜去观察世界，并期待观众在了解这个世界之后，能再次回到艺术的怀抱去有所思考和感悟。

上海玻璃博物馆也支持所有女性艺术家在这一公众平台上的大胆发声与极致呈现。此次展览的艺术家——杜蒙，同时也是上海玻璃博物馆历年以来合作的艺术家中最年轻的一位。作为一名刚刚学成归国的艺术家，杜蒙在形容她刚回到国内后的感受时谈到:

“习惯了过去几年在美国有条不紊、三点一线慢悠悠的乡村生活，刚刚回国的我经历了一段时间的水土不服才重新适应了信息社会的一些生存技能。有形或无形的边界时刻充斥在我们的身边形成制约，就像用许许多多的容器将日常生活分割开来一样。”

生活轨迹的变化也让杜蒙重新去思考：玻璃，在作为一种艺术媒介时究竟能传达什么样的语言，以及玻璃自身的边界性到底何在？在自己的全新阶段，杜蒙决定透过玻璃，以独特的艺术表现方式，去探索现代社会常见却又被视而不见的隐形墙壁和隔阂。在这一名为《间》的展览中，她便以自身一贯纤敏且充满灵性的方式，对无处不在的“限制”与“边界”进行了戏剧化的解读和阐释。当观众穿行于展览之中，感受到的不仅是玻璃那捉摸不定、介于透明与半透明之间的质感，更是一幕幕奇幻又古怪的小剧场。如果说每组作品含蓄地回应了某种特点类型的“局限”所在，那由数组作品组成的大小不一，风格各异的“房间”，则共同形成了一个巨型的装置和舞台。当观众游走于各个不同的空间中，看到、听到或感触到的是故事、是情绪，也是真切地身临其境。

高墙与牢笼，这些都是物质化可见的限制。而对于每个身处社会中的人来说，还有更多无形的禁锢：约定俗成、规则范围、权威指导，甚至是对故乡的眷恋、对失去过往的不舍、他人的眼光和评判……人生而自由，却无往不在枷锁之中。这种种限制有时候都不能被称为无法走出的“舒适区”，因为它们都不那么令人愉悦。

作为一名用玻璃来讲故事的人，杜蒙总是在琢磨和实践如何用玻璃去编辑生活中的那些零散信息和视觉语言，并以自己擅长的方式将情绪梳理成章传达给他人。最理想的状态，是当观众的目光停留在她的作品上的同时，两者能相互建立一种特殊的联系，进行一场无声的交谈——也许只有在这一瞬间，我们才能透过层层的玻璃去阅读自己的内心世界，一切也才有了存在的意义。

“我通过将生活中熟悉的场景进行解构与重组，编排出了一个看似荒诞却又似曾相识的世界。而玻璃，更像是栖息于这些虚构场景里的角色，游荡在属于它们自己的舞台之间。玻璃那薄薄的空腔就像‘皮肤’，仿佛每一处褶皱都留有生活的印记，这很生动也很真实。”——杜蒙那延续已久的，梦幻的作品气质经由发展和强调，带上了一种超脱现实的、几近诡异迷魅的气息，当光线洒落在作品表面的时候，玻璃所折射出的微光就像一个个神秘莫测的眼神，拥有着属于自己的灵魂和情绪，性格鲜明地牢牢将观者拉入她所创造的世界。

在这个世界里，你看到、听到、感触到的是故事、是情绪，也是真切地身临其境。如同卡尔维诺所著《看不见的城市》为读者营造了一个个不寻常的城市背景。在这个展览中，在此间，我们可以看到画面不断地重现，细节不断堆砌，剪辑在改变，同一个场景上，我们将看见好几个世界。

面对风云变化之快到令人无法追赶的新时代，已有着三百年历史的现代公共博物馆还能为公众做些什么？无论是来自观众们更高更全面的诉求，还是博物馆人的自我要求和职责，今天的博物馆在做好研究、收藏、展示传统职责同时，努力在教育、传播、公众服务甚至娱乐体验功能上做出全新的尝试。博物馆的功能无论如何变化又或是受到了怎样的挑战，它始终必须是开启民智，启迪未来的重要阵地。面对今天的一系列社会问题与文化困扰，博物馆应当要做出符合自身特质和高度的考量与表达。我们期待此次清新面貌的展览能为不仅能为国内玻璃艺术展览带来突破，同时也能唤起每一个人内心的思考与情感。

Ancient Methods and Modern techniques

Here We See More Than One World

The Room, the first solo exhibition by Meng Du in China launched at Shanghai Museum of Glass

April 29, 2018

In the spring of 2018, the Shanghai Museum of Glass (SMG) is delighted to announce that The Room, the first solo exhibition by Meng Du in China, will be held from April 29 to Oct. 29, 2018. Since it’s opening seven years ago, SMG has been dedicated to supporting the growth of young Chinese glass artists. Young artists are encouraged to create their work in a bold and honest way, reflecting the spirituality of people today, while promoting the development of glass art in China. It is SMG’s hope that it presents a lens to observe the world allowing viewers to contemplate and give rise to insights after seeing the world in art.

The SMG supports the voice and expression of female artists at its public platform. The artist Meng Du is also the youngest artist that SMG has ever worked with. She described how she felt shortly after coming back to China from her study abroad as follows.

“I settled into an organized, slow-paced and simple life in the suburbs of the U.S. over the past several years. After I came back to China, I went through an uncomfortable transition before I adapted to this rapid developing information society. The visible or invisible boundaries are creating barriers around us, just like how our daily life is compartmentalized.”

The change in Meng’s trajectory of life made her consider what glass can express as an art medium and what the boundary of glass is. At this new stage of her life, Meng decided to explore the prevailing but invisible walls and barriers through the unique form of glass. In this exhibition, the artist Meng Du offers a dramatic interpretation of pervasive “limitations” and “boundaries” in her usual, although subtle and intuitive way. Walking through the exhibit, the viewers will experience the transient and translucent nature of glass while looking at the fantastical and strange scenes. Each scene reflects a different type of limitation. Rooms of various sizes and styles function as large installations and a stage. Viewers will have intimate contact with stories and emotions through sight, sound and touch.

Apart from the visible limitations posed by walls or cages, each of us experience invisible restrictions in the society. Just as Rousseau said, “Man is born free and everywhere he is in chains.” Conventions, rules, authorities, homesickness, nostalgia, and judgement from other people restrict us from true freedom. These restrictions are sometimes referred as the “comfort zone” that is hard to break away from. It is very unpleasant to attempt to break away from social norms.

As a storyteller using the tool of glass, Meng is always investigating daily fragmented information and visual languages, compiling and skillfully expressing them in an emotionally relatable way to others. Ideally, when viewers pause at her work, they can build a special connection with the object while having a speechless conversation. Perhaps, in front of the labyrinth of glass we can get in touch with the bottoms of our hearts and find meaning in a moment like this.

What can modern public museums, with a collective history of three centuries, do for the public to catch up with a too rapidly changing world? To meet the demand of the viewers and fulfill their professional responsibilities, contemporary museums are experimenting with education, promotion, and even entertainment as they perform their traditional roles in research, collection, and exhibition. No matter what changes or challenges the museums are facing in terms of their functions, they must serve as a foothold in enlightening and inspiring the public. The museums should plan their path by responding to social issues and cultural confusions today, relying on their unique characteristics and strengths. We hope that this refreshing exhibition can not only shed light onto the glass art exhibitions across China but also encourage our visitors to think and feel.