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.