从私人收藏到全球美术馆
From A Private Collection to A GlobalMuseum
讲者：翁笑雨（纽约古根海姆美术馆策展人）
Lecturer: Weng Xiaoyu （Associate Curator at the Solomon R. Guggenheim Museum）
讲座时间：北京时间4月26日（星期日）9:30 /纽约时间4月25日（星期六）21:30Time：Beijing time 9:30,Sunday, April 26th/ New York time 21:30 ,Saturday, April 25th
讲座方式：Zoom视频会议
Platform: Zoom Video Communications
会议号码：762 429 5699
Zoom Cloud Meeting ID：762 429 5699
主办单位：新美术馆学研究中心、广州美术学院美术馆Organizers：The Research Center ofNew Art Museum Studies, Art Museum of Guangzhou Academy of Fine Arts
讲座内容
Lectureoutline
从1939年在位于纽约中城的租赁空间中开设的“非客观性绘画美术馆”来展示抽象艺术藏品，到1959年由弗兰克·劳埃德·赖特设计的螺旋式建筑终于正式向公众开放，再到2019年此建筑被世界教科文组织认定为世界文化建筑遗产（在纽约同获此殊荣的只有另一个地点，即自由女神雕像）：在这过去的近90年里，古根海姆美术馆的历史见证了一个私人藏家如何将其对艺术的热情逐渐转化成一座城市的文化地标。这其中注入了几代团队的思索、突破和创新。本讲座将以古根海姆美术馆为范例，介绍其奠基藏品，收藏策略和理念，特别收藏项目，收藏和研究以及展览的互动和互利等等。讨论也会涉及到美国私营美术馆、欧洲博物馆以及其它小型私人私藏和基金会建立的不同起源、历史环境和运营模式等。讲者也将介绍自己作为策展人在不同类型机构工作的经历和启发。
From opening the Museum of Non-Objective Painting fordisplaying the collection of abstract art in a rented space in MidtownManhattan in 1939, to the spiral-shaped building—designed by Frank LloydWright—officially inaugurated in 1959, to the iconic building being designatedby UNESCO as a World Heritage Site in 2019 (Statue of Liberty is the only othersite in New York that receives the same honor): the Solomon R. GuggenheimMuseum has witnessed the transformation of a private collector’s passion forart to a city's cultural landmark in its 90 years’ history. This history isinfused with generations of thinking, breakthroughs and innovations.
This lecture will take the Solomon R. Guggenheim Museum asan example to introduce its foundational collection, collecting strategy andconcept, special collection projects, the interaction and mutual benefits ofcollection, research and exhibition, among other topics. The discussion willalso make mention of the different origins, historical contexts and operatingmodels of American art museums, European museums and other small privatecollections and foundations. The lecturer will reflect her experience andknowledge of working as a curator in different types of institutions over theyears.
当年的非客观性绘画美术馆建筑外墙
Theexterior of the Museum of Non-Objective Painting
建筑师赖特、美术馆第一任馆长希拉·蕾贝和所罗门·古根海姆在美术馆建筑设计模型前
FrankLloyd Wright, Hilla Rebay, and Solomon Guggenheim with a model of theGuggenheim Museum, 1947. Photo: Margaret Carson © SRGF
描绘了1599年时代珍奇柜样子的版画
Engravingof a Cabinet of Curiosity from 1599
今日的古根海姆美术馆
TheSolomon R. Guggenheim Museum
古根海姆美术馆在世界各地的分部
Branchesof Solomon R. Guggenheim Museum around the world
古根海姆美术馆和瑞士瑞银集团共同发起的Map计划
MAPGlobal Art Initiative launched by Solomon R. Guggenheim Museum and UBS
古根海姆美术馆何鸿毅家族基金中国艺术计划
The RobertH. N. Ho Family Foundation Chinese Art Initiative of The Solomon R.Guggenheim Museum
讲者简介
About the lecturer
翁笑雨Weng Xiaoyu
翁笑雨是纽约古根海姆美术馆的策展人，负责何鸿毅家族基金中国艺术计划。在美术馆，她策划了展览《故事新编》（2016-17）和《单手拍掌》（2018）。翁笑雨于2019年策划了在俄罗斯叶卡捷琳堡举行的《第五届乌拉尔双年展——永生》，此展览于2020年被《艺术新闻》（ArtNewspaper Russia）授予年度最佳展览的荣誉。在过去10年间，翁笑雨在全球策划超过30个展览和项目。
此前，翁笑雨是Kadist艺术基金会（巴黎／旧金山）亚洲项目的主持人和策划人，为此基金会创办并建立了泛亚洲的收藏。2009-2010年间，她是美国旧金山沃迪斯艺术中心 (CCA Wattis Institute for Contemporary Arts)的策展人。她近期的其它独立展览还包括：Neither Black / Red / Yellow Nor Woman, 时代艺术中心，柏林（2019）；Soft Crash，意大利贝加莫当代艺术中心(Galleria d'Arte Moderna eContemporanea di Bergamo) (2016); Landscape: the virtual, the actual, the possible? （2014）广州时代美术馆和美国旧金山欧巴布也那艺术中心(Yerba Buena Center for the Arts)(2014);Invisible Hand: Curating as Gesture, 第二届CAFAM 双年展，北京中央美术学院美术馆，等等。翁笑雨毕业于北京中央美术学院人文学院，获得学士学位。她于美国加州艺术(California College of theArts)获得策展硕士学位。作为一名作者和批评家，她也为多个重要艺术期刊撰稿。她的论文《与档案共事》于2011年获《艺术论坛》批评奖一等奖。翁笑雨是2017年由纽约艺术机构Art in General颁发的VisionaryAward的获奖者。这个荣誉是为了表彰她对艺术行业作出的极具独特性和革新性的贡献。她也是第八届Premio Lorenzo Bonald per L’arte Enterprize国际策展人奖（2015）的获得者。
Weng Xiaoyu was appointedas an Associate Curator at the Solomon R. Guggenheim Museum tospearhead The Robert H. N. Ho Family Foundation Chinese ArtInitiative in 2015. At the museum, she has curated the exhibition Talesof Our Time (2016-17) and One Hand Clapping (2018).Weng is the curator for the upcoming 5th Ural Industrial Biennial ofContemporary Art (2019) in Yekaterinburg, Russia.
Previously,she served as the founding director of the Kadist Art Foundation’s AsiaPrograms, Paris and San Francisco. She launched the Kadist CuratorialCollaboration, which organizes exhibitions that stimulate cultural exchange,and she oversaw artist residencies and the building of the contemporary Asianart collection. From 2009 – 2010, she worked as a curator at the WattisInstitute for Contemporary Arts at the California College of the Arts (CCA).Her other selected recent projects include Soft Crash atGalleria d'Arte Moderna e Contemporanea di Bergamo, Italy (2016);Landscape:the virtual, the actual, the possible? at Guangdong TimesMuseum, Guangzhou and Yerba Buena Center for the Arts, San Francisco (2014);and InvisibleHand: Curating as Gesture, the second CAFAM Biennale at Central Academyof Fine Arts Museum, Beijing (2014). Educated at the Central Academy of FineArts (CAFA) in Beijing and the CCA in San Francisco, Weng also writes oncontemporary art and visual culture in various periodicals and has contributedto numerous publications. Her essay “Working with Archive” won the ArtforumCritical Writing Award in 2011. Weng is the recipient of the 2017 VisionaryAwards, where are presented by Art in General, New York, to highlight thework that champions the transformative power of art and that nurtures andsupports diverse artistic talents. Weng was selected for her innovative leadershipand singular contribution to the field. She was also the winner of the eighthedition of Premio Lorenzo Bonald per L’arte Enterprize for internationalcurators in 2015.
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