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First published by CAFA Art Info.

Editor’s note:

From the beginning of 2020, the sudden new coronavirus epidemic has triggered great turbulence in society, and later the “sequelae” brought by the epidemic has spread to various industries. Also, its impact on the art world cannot be ignored. Within the art world, topics such as physical restrictions imposed to stay at home, frustrations in industry and the extension of opening timers of exhibitions, etc. are frequently discussed by different groups. During this period, CAFA ART INFO invites diverse art practitioners in the art ecosystem to participate in the dialogue and has thus initiated a discussion and research themed “2020 Art Ecology Section” with art institutions and the groups employed in this area as the core.

编者按:

2020年新年伊始,一场突如其来的新冠状病毒疫情给社会带来了巨大动荡,疫情带来的后遗症波及到了各个行业,对于艺术领域的影响与打击亦不可忽视:禁足在家、行业受挫、展览延期、机构关闭等话题被不同群体频频探讨。艺讯网在此期间,邀请艺术生态圈中不同的声音参与对话,以“2020艺术生态切面图”之艺术机构及其从业群体为核心,展开调研和讨论。

From an economic lawyer to an artistic director, from “Courtyard Gallery” to “Pékin Fine Arts”, Meg Maggio—an American who loves Chinese art—is a legendary presence across all galleries in China. She is a pioneer and also a promoter; she is an observer and a narrator. Meg Maggio, who is frank and vigorous, is among the first group of art investors who introduced and promoted contemporary Chinese art to the world, and she is also an art director who personally curated various exhibitions by international artists at Pékin Fine Arts galleries in Beijing and Hong Kong.

In 2020, the sudden outbreak and spread of the coronavirus pneumonia epidemic in China has disrupted the arrangements of almost all artistic activities from the Chinese New year. As the leader of Pékin Fine Arts, Ms. Meg Maggio recently announced that Pékin Fine Arts tried to open its galleries in Beijing and Hong Kong “as usual”. On this occasion, CAFA ART INFO conducted an exclusive interview with Meg Maggio; hopefully her extraordinary experience and insight can bring more inspiration to the majority of art practitioners.

从经济法律师到艺术总监,从“四合苑”到“北京艺门”,热爱中国艺术的美国人马芝安,是中国画廊业中传奇一样的存在。她是开拓者,也是坚守者;她是经历者,也是讲述者。性格坦率又雷厉风行的马芝安,不仅是最早把中国当代艺术介绍传播到海外的艺术投资人之一,也是在北京和香港亲自策划多元化海外艺术家展览的艺术总监。2020年新冠状病毒肺炎疫情在中国的突然爆发和传播,打乱了国内春节之后至今几乎所有艺术活动的安排。作为北京艺门画廊的掌门人,马芝安女士近日率先尝试位于北京和香港的画廊“照常营业”,鉴于这样的契机,艺讯网特别对马芝安女士进行了专访,期冀她的非凡经历与真知灼见能给广大的艺术从业者带来更多的启发。

Photo: Ms. Meg Maggio 
马芝安女士

Interviewee: Ms. Meg Maggio|受访人:马芝安女士
Interviewer: Sue Wang |采访人:Sue Wang
Interview Date: March 6, 2020 | 采访时间:2020年3月6日
Images provided by the interviewee

CAFA ART INFO: As one of the earliest groups of foreigners who are active in the field of contemporary Chinese art, you co-founded the Courtyard Gallery in Beijing in 1997 and you currently manage Pékin Fine Arts in Beijing and Hong Kong. As an observer, what do you think of the development of contemporary Chinese art over the past two decades?

艺讯网:作为最早一批活跃于中国当代艺术圈的外国人之一,您早在1997年就在北京联合创建了四合苑画廊,现在也在北京和香港两地同时经营着北京艺门画廊,作为见证者,您如何看待中国当代艺术二十余年来的发展?

马芝安女士与北京艺门画廊观众交流。
Photo: Ms. Meg Maggio (the second from the right) talked with visitors at Pékin Fine Arts

马芝安女士在北京艺门画廊与艺术家交流。
Photo: Ms. Meg Maggio talked with artists at Pékin Fine Arts

Ms. Meg Maggio: The Chinese contemporary art scene cannot be viewed as one monolithic nor homogenous phenomenon. I can only comment on what I have observed since the late 1980s in and around Beijing, and to a lesser extent, in Hong Kong. The regional and local culture, dialect, and art traditions possess unique local identity; and, I don’t pretend to be a “China expert” nor an “art expert”. Rather, I know what I like, I know who I can trust and respect, and I follow my own inclinations, intellectual curiosity, aesthetic preferences, and life experience. Since moving to Beijing in 1986, I have now spent over ½ my life in China. I’ve learned over the years to be more observant, more respectful and more open-minded!

马芝安女士:中国当代艺术界并不能被视为是庞大而僵化单一的整体或者同质的现象。我仅能就二十世纪八十年代以来我所观察到的北京及周边,以及较小范围在香港的所感所见做出评论。区域和地方性的文化、方言和艺术传统具有独特的地方特色;而且,我并不假装自己是“中国专家”或是“艺术专家’。相反地,我知道自己喜欢什么,我也知道我可以信任和尊重谁,并且我会遵循自己的喜好、求知欲、审美偏好和生活经验。自从1986年移居北京以来,现在我超过一半的人生是在中国度过的。这些年来,我已经学会更敏锐地观察审度,更加地尊重他人,更加地开阔兼容。

北京艺门画廊目前在北京进行的王加诺个展。
Images: Wang Jianuo Solo Exhibit is currently on display at Pékin Fine Arts in Beijing

Rapid growth in the Chinese contemporary art scene is both good and bad, as we all know. Unrealistic expectations were built during what I refer to as the “boom-boom” years, when big money was made too easily in the Chinese art market. Later, the art market was flooded by lesser quality art products and the entire Chinese art world suffered not only from globalisation’s impact, but also from the flooding of the Chinese art market with low quality, overly commercial art works.

Now, when the art market is down, we can see who is truly committed to “Art for Art’s Sake”, not the over production of art products for commercial gain!

众所周知,中国当代艺术界的快速发展既有利亦有弊。在我所称为的“繁荣时期”,人们对于艺术建立了一些不切实际的期望,当时在中国艺术品市场捞金太容易了。后来,艺术品市场被质量低劣的艺术品所淹没,整个中国艺术界不仅遭受了全球化的冲击,还因中国艺术品市场充斥着品质不佳并且过分商业化的艺术品而受到不良影响。

现在,当艺术品市场下挫时,我们会看到谁在真正致力于“为艺术而艺术”,而不是为了商业利益去过度制造艺术品。

CAFA ART INFO: Pékin Fine Arts has always insisted on exhibiting and managing experimental artworks, including paintings, photography, installations, and new media art, etc. What do you think the experimental spirit means for gallery operations?

艺讯网:北京艺门画廊一直坚持展示并经营具有实验精神的艺术作品,不仅有绘画、摄影、还有装置和新媒体艺术等等,您觉得实验精神对画廊经营来说意味着什么?

北京艺门画廊不同类型展览
Various exhibitions of Pékin Fine Arts
Source: https://pekinfinearts.com/

Ms. Meg Maggio: Every gallery follows its own subjective vision, and works with artists who share a similar vision. For me, the most important is the person, the artist him or herself. Of course, I only work with artists who I want to commit to spending time with! All artists we work with teach me many things, open my eyes, my heart, and my brain to new ways of thinking. Artists teach us how to look at the world differently. By definition, the best artists are indeed “experimental”. I work with the person, not the objects. We follow the artist, across a wide variety of mediums, and new work. If you trust the artist, you will trust his/her choices and follow!

马芝安女士:每个画廊都遵循着自己的主观视野,并与拥有着相似视野的艺术家们进行合作。对我来说,最重要的是这个人,艺术家,他或者她。当然,我只想与那些我愿与之共度时光的艺术家进行合作!与我们合作的所有艺术家都教给我很多东西,让我打开双眼,打开我的心灵和大脑以崭新的方式思考。艺术家教给我们如何以不同的方式来看待这个世界。从定义上来说,最好的艺术家们确实就是具有“实验性的”。我与人进行合作,而不是与物进行合作。我们通过多种媒介方式来关注艺术家和新作品。如果你信任这位艺术家,那么你会相信他或她的选择并继续关注。

CAFA ART INFO: From Beijing to Hong Kong, has the positioning and strategy of Pékin Fine Arts changed? How do you evaluate the ecological environment of art in Beijing and Hong Kong? In your opinion, what are the advantages and disadvantages of them?

艺讯网:从北京再到香港,北京艺门画廊的定位和战略是否有所不同?您如何评价北京和香港的艺术生态环境?在您看来,各有哪些优缺点?

Ms. Meg Maggio: Beijing and Hong Kong are very different. The two Pékin Fine Arts gallery offices complement each other. The two offices service two very different art markets and art communities. In Hong Kong, I am on the Board of Directors of the Hong Kong Art Gallery Association, as the International Liaison. I am constantly reminding Hong Kong galleries (many are newly formed, and are at least a decade behind Beijing, Shanghai, Chengdu, Chongqing, Hangzhou’s more mature contemporary art scenes), to reach out and engage with the rest of China and Asia, beyond the narrow confines of Hong Kong’s territory. Hong Kong is interesting because on the surface it appears very sophisticated as an art trading hub. But this is not true of its art community, which is new and just starting out and not so familiar with nurturing its artists. Hong Kong is a business centre, and we are trying to make it into an arts centre. It’s going to take some time! Hong Kong’s history is far stronger in collecting antiques. For this reason, contemporary artworks that speak to the traditional arts are more popular here. Up until the 1990s, there was very little in contemporary art in Hong Kong, only ink paintings and antiques, but little to no oil paintings!

马芝安女士:北京和香港有很大的不同。两地两间北京艺门画廊相得益彰。两处不同的画廊办公是在为两个截然不同的艺术市场和艺术社群提供服务。在香港,我是香港画廊协会董事局国际联络员。我一直在提醒香港画廊界(有很多是新成立的画廊,距北京、上海、成都、重庆、杭州较为成熟的当代艺术环境至少落后十年以上),他们应该跨越香港地缘的局限而更多地与中国和亚洲其他区域接触互动。香港很有意思的地方在于,从表面上来看,它作为艺术品交易中心显得很成熟老练。但是对于艺术社群来说却并非如此,艺术社群对香港来说是刚刚起步的新事物,也并非易于培养艺术家。香港是个商务中心,我们正在努力使其成为艺术中心!这需要一定的时间!香港在古董收藏方面有着更悠久的历史,由于这个原因,谈及传统艺术的当代艺术品在这里更受欢迎。直到上世纪九十年代,香港的当代艺术都很少,只有水墨画和古董,几乎没有油画。

Some exhibitions in Pékin Fine Arts Gallery (Hong Kong)
艺门画廊(香港)部分展览
Source: https://pekinfinearts.com/

CAFA ART INFO: Pékin Fine Arts has extensive cooperative relationships with contemporary Chinese female artists. As a gallery director, you are one of the most influential women in the contemporary art circles in Beijing. What do you think of the developments and influence of contemporary Chinese female artists?

艺讯网:北京艺门画廊与中国当代女性艺术家的合作非常广泛,您作为画廊总监也是北京当代艺术圈里颇具影响力的女性之一,您如何看待中国当代女性艺术家的发展和影响力?

Ms. Meg Maggio: As a woman, I think it is only natural that I sympathise with women artists, curators, arts writers, etc. I am especially impressed by truly independent women, with strong personalities and large ambitions, and lots of personal integrity! As women art workers, we should share the same values: not to be too self-absorbed, nor too selfish, nor too vain, nor too materialistic, and to be dedicated to a life of learning. We try to move in this direction on a daily basis. Female art workers need our support and our respect. I am proud to be in a profession where there are so many female gallerists, artists, arts writers and curators and—also very important—many female art collectors!

马芝安女士:作为一名女性,我很自然地理解和支持女性艺术家、策展人和艺术写作者等等。我非常钦佩真正独立的女性,这些女人具有坚韧的个性和远大的抱负,而且个人的品格高尚!作为女性艺术工作者,我们应具有相同的价值观:不要过于关心自我,也不要太自私,不要太自负,不要太物质至上,而是活到老学到老。我们每天都在朝这个方向努力。女性艺术从业者需要我们的支持和尊重。我很荣幸能从事这样的职业,有如此多的女性画廊主、女性艺术家、女性艺术写作者和策展人,而且非常重要的是:女性收藏家也如此众多!

展览《林菁:非》在北京和香港
Exhibition Lin Jing: FEI in Beijing and Hong Kong
Source: https://pekinfinearts.com/

CAFA ART INFO: Since the Spring Festival of 2020, all indoor and outdoor art activities and exhibitions have been cancelled or suspended due to the impact of the coronavirus. Where were you when this pandemic began? How does it affect you and Pékin Fine Arts? What is your status and that of art practitioners around you and what do you think of the possible ups and downs of the Chinese art market in the remaining months of 2020?

艺讯网:2020年春节至今,整个大中华地区以至亚洲区域都因受新冠状病毒肺炎影响而取消或者暂停了所有室内外的艺术活动和展览,这场疫情发生时 您在哪里?对您和艺门画廊有什么影响?您和您身边的艺术从业者现在是什么状态,你们又怎样看待今年中国艺术市场可能会出现的起伏变化?

Ms. Meg Maggio: I was in Beijing before the virus started. Every year, I prefer to be in Beijing for Chinese New Year. This year is my YEAR OF THE RAT. So I was already very apprehensive! We went first to see Taipei Dangdai fair around 17 Jan. We returned Beijing a few days later and there were rumours. I think the Wuhan virus became official around the 22 of January. After the sad news of Wuhan, we stayed and spent New Year’s Eve watching the New Year TV show, eating hot pot and, of course, jiaozi, with artist Tong Zhengang and his daughter who works at Poly Auction. We were the only friends brave or foolish enough to go outside and to his house! Every year, on the first days of New Year, I move to Hong Kong and work from our Hong Kong gallery office, where weather is warmer! This year, we arrived Hong Kong 1st Feb, and did self-quarantine at a cheap hotel for 14 days. Now, we are trying to do “business as usual” in both Hong Kong and Beijing. But it is very difficult. People are not in the right mood to look at art, nor to buy art. Originally, I was supposed to fly to Seattle from Hong Kong for the opening celebrations of the new expanded wing of the Asian Art Museum at the Seattle Art Museum. I had to cancel my trip because no one wanted to see me coming from China/Hong Kong! I hope to go to Seattle later this spring. And I hope to return to Beijing as soon as possible. In the meantime, I am working remotely every day from my Hong Kong office with my Beijing team.

马芝安女士:在病毒开始传播之前,我在北京。每年我都喜欢在北京过年。今年鼠年也是我的本命年。所以本来我已经很担心了!我们在1月17日左右先去看了台北当代艺术博览会。几天后我们回北京的时候已经有(病毒的)传言。我想真正官方公布在武汉爆发的病毒是在1月22日?武汉疫情公布后,我们是与艺术家童振刚还有他在保利拍卖公司工作的女儿一起共度除夕,我们吃了火锅,当然还有饺子。我们是他仅有的勇敢或者说愚蠢的朋友,还愿意去外面到他家共度春节。每年新年的第一天,我都会去香港并在我们香港艺门画廊的办公室工作,香港气候更温暖。今年,我是在2月1日抵达香港,并且在一家廉价酒店进行了14天的自我隔离。现在我们正在香港和北京尝试着“照常营业”,但是这是非常困难的。人们没什么心情去看艺术,也没心情买艺术品。原本,我是计划从香港飞往西雅图,参加西雅图美术馆亚洲艺术分馆的落成典礼。我不得不取消旅行,因为没人会愿意看到我是从中国/香港而来。我希望今年春天晚些时候再去西雅图。而且我也希望可以尽快返回北京。同时,我每天在香港的办公室与北京的团队一起远程沟通工作。

2020 New Year Poster
Pékin Fine Arts Gallery

CAFA ART INFO: What issue in art are you most concerned with? What are your plans after the epidemic ends?

艺讯网:2020年关于艺术您最关心的问题是什么?疫情结束之后您有怎样的计划?

Ms. Meg Maggio: Of course, I am not happy about the US-China relations. I think it is bad for both countries and certainly bad for US-China small business owners like myself! I hope these relations improve rapidly and both sides recognise their mutual interdependence and return to friendlier times. Both sides lowering and raising tariffs on goods in and out of China is not the answer. Small business owners will be hurt. I am also concerned about inflation and the rising costs of doing business in China. I want China to succeed in elevating the economic wellbeing of all its citizens and residents. But not if everyone has to work overtime and multiple jobs to pay the high cost of living in urban areas. We are a global company and we also do business outside the USA, in Europe, Asia, and South America. The world is big and there are many opportunities to meet art lovers everywhere. We cannot be wholly dependent on the trade and investment negotiations between China and the US.The virus is a real worry, especially because it feeds peoples’ prejudices and racism. The virus is a human problem and knows no national nor racial boundaries. This is a good opportunity for us all to focus on humanitarianism and community efforts. Put aside nationalism, ego, and self-interest. We are all citizens of this planet, with its disease, climate change and waste destroying nature. We are all affected. This is not Wuhan’s problem, it is the world’s problem.

马芝安:当然我对目前的中美关系并不满意。我觉得这对两国都不利,当然对我这样的中美小企业主也很不利。我希望这些关系能迅速改善,双方都能认识到彼此的互相依存,回归到更加友好的时代。双方降低和提高对进出中国商品的关税并不是解决之道。小企业主利益会受到损害。我还担心着通货膨胀以及在中国经商的成本不断上升。我希望中国能够成功地提升其所有公民和居民的经济实力。而不应该是每个人都必须通过加班和兼职来支付在城市中高昂的生活成本。我们是全球性的公司,我们还在美国之外,在欧洲、亚洲其他地区和南美开展业务。这个世界很大,有很多机会去结识来自世界各地的艺术爱好者。我们不能完全依赖于中美之间的贸易和投资谈判。病毒疫情确实令人担忧,尤其是它会滋生人们的偏见和种族主义。这个病毒是人类的问题,没有国界或者种族的界限。这是我们大家抛开民族主义、自我和自我的利益,集中精力进行人道主义和社群共建的良机。我们都是这个星球的公民,因这个星球的疾病、气候变化、废弃物对自然的破坏而受到影响。这不是武汉的问题,这是世界的问题。

CAFA ART INFO:  What role do you think art can play when we are confronted with diseases and disasters? Or what revelation do you think art can make? 

艺讯网:面对疾病和灾难,您觉得艺术能起到怎样的作用?或者说有怎样的启示?

Ms. Meg Maggio: Art speaks to humanity and the best artists are the least nationalistic, the least narcissistic, the most unselfishly natural. The best artists make artworks that will move the viewer not only artistically, but also emotionally and intellectually. I always tell visitors, when I am asked my opinion, “I really don’t care if you like this artwork or not. I care that you remember it. The artwork should leave you with a lasting and deep impression. The world is full of pretty pictures, ha ha ha. We all suffer from too much time surfing the web, online, on WeChat. Too much visual stimulation. But what do we remember? What leaves a lasting and profound memory? That is the best artwork.”

马芝安女士:艺术与人类对话,而最好的艺术家则应该是讲最少的民族主义,最不自恋,最无私的自然人。最好的艺术家们创作的艺术品不仅会在视觉艺术性上打动人,还应该在情感和思维上打动观众。当观众问及我的想法时,我总是告诉他们:”我真的不在乎您是否喜欢这件作品。我在乎的是您记住了它。艺术品应该给您留下持久而深刻的印象。世界上到处都有漂亮的图片,哈哈哈。我们所有人都花了太多的时间在网络上在微信上浏览,太多的视觉刺激,但是我们记住了什么?什么留下了持久而深刻的记忆?那是最好的艺术品。”

CAFA ART INFO: You once commented that, “the art market in Mainland China currently lacks the participation of museum system.” Do you think this situation has changed? In the past decade, foreign-funded galleries in China have not changed significantly and some local galleries have to face operational difficulties. Do you think the problems that private art museums and galleries are confronted with have improved? Are there ways out and are prospects clear enough?

艺讯网:您曾经说过,“中国内地的艺术市场目前缺乏美术馆系统的参与”,您觉得现在这种状况是否有所改变?过去十年中,在中国的外资画廊并没有显著的变化,有些本土的画廊则面临着经营上的困境,您觉得民营美术馆和画廊所面临的问题是否有所改善?出路和前景是否明朗?

北京艺门画廊为张小涛在银川当代美术馆个展制作的宣传海报
Poster of Zhang Xiaotao Microscopic Event by Pékin Fine Arts

《张小涛:显微事件》展览现场
Exhibition View of Zhang Xiaotao Microscopic Event
Photo courtesy of the organizer and the artist

Ms. Meg Maggio: The art market in Mainland China is changing rapidly, particularly as a result of the exponential growth in new museums. I am always happy to hear of the opening of a new museum in Beijing and all over China. These are exciting times; museum openings are important developments for the Chinese art scene and are creating a whole new world of art projects and art exhibition opportunities for artists. I am impressed, not only by the opening of large bricks and mortar buildings, but also by the opening of new alternative art spaces around China. I was just in Ningxia visiting the Yinchuan Modern Art Museum, where artist Zhang Xiaotao, (who we have worked with for many years), had a solo exhibition curated by Lu Peng. I was deeply impressed by the beauty of the museum and its professionalism. The simultaneous growth of museums and art spaces in both the private sector and also in state institutions is an extraordinary development in China, (I am particularly fond of Qinghua University Art Museum and CAFA Museum as models for excellent state-run university art museums in Beijing and I hope Peking University will also build an art museum one day soon). This museum growth has a particular resonance in China’s art scene, encouraging artists, art lovers, and art workers alike. This simultaneous, two-track growth in state and private museum construction is exciting. And this is one more indicator that China is truly committed to improving the quality of people’s day-to-day lives.

马芝安女士:中国大陆的艺术市场正在迅速地变化,尤其是新美术馆的成倍增长。我一直很高兴听到在北京和中国各地开设新美术馆的消息。这些是激动人心的时刻,美术馆不断地涌现对于中国艺术界来说是重要的发展进步;也为艺术家们开辟了提供更多艺术项目和艺术展览的新世界;我不仅对拔地而起的新砖瓦灰泥建筑印象深刻,我也赞叹中国各地纷纷涌现的个性艺术空间。前不久我刚在宁夏参观了银川当代美术馆,由吕澎策展,与我们北京艺门画廊合作了很多年的艺术家张小涛在那里举办了个展。美术馆的精美和专业度给我留下了深刻的印象。无论是私营还是公立体制支持,在中国美术馆和艺术空间的同步增长都是非凡的进步。(我特别喜欢清华大学美术馆和中央美术学院美术馆,它们是坐落在北京,中国大学美术馆的典范。我希望北京大学也能在不久的将来建立一座美术馆。)美术馆的发展在中国艺术界也引起了特别的共鸣,鼓励着艺术家、艺术爱好者和艺术从业者参与。这种公立和私营美术馆的同时并行发展是让人感觉兴奋的。这也可以看作是指向,中国正在致力于改善人民的日常生活质量。

CAFA ART INFO: Every year, on the occasion of CAFA Graduation Exhibition, you would visit the exhibitions at CAFA and get involved in the community. Which category of work are you most concerned with? Would you like to talk about any impressive experiences in CAFA? What are you most looking forward to?

艺讯网:每年的中央美术学院毕业展一定能看到您来观展,您最关注的作品类型是什么?印象深刻的经历有哪些?最期待什么?


2019中央美术学院毕业展现场
View of CAFA Graduation Exhibition 2019
©️ CAFA ART INFO

Ms. Meg Maggio: I always enjoy the graduation exhibitions as they are different from year-to-year. And these graduation exhibitions of each of CAFA’s departments and schools are always full of surprises. I like the way the graduation exhibitions have expanded across the CAFA campus with even large temporary structures being built to house ever-expanding graduation shows.

I am also happy to see Zhang Zikang join the CAFA Museum as the new leader. I hope he will bring his book publishing enthusiasm to the museum and I hope he will open a large museum bookstore very soon. I have already told him this! I was very impressed by the program of 100 years anniversary of the celebration of the establishment of CAFA. I especially liked the exhibition of all the Chinese art students who went to France to study. That was a great exhibition, and I look forward to seeing the exhibition catalogue when it is published. There is a great talent pool at CAFA; Pan Gongkai, Xu Bing, and Wang Huaxiang did great jobs, and Fan Di An clearly believes in the importance of the museum world. It is always important to make the right balance between locally curated exhibitions and exhibitions temporarily imported from abroad. Personally, I am more interested in the locally curated exhibitions, such as Beijing Biennale, and China historic exhibitions.  Sometimes, smaller scale exhibitions can also be great. Bigger is not always better; sometimes “less can be more”.

马芝安女士:我总是很喜欢看毕业展,因为每年都会有所不同。而且中央美术学院各个院系的毕业展总是充满了惊喜。我喜欢毕业展遍布整个中央美术学院的方式,甚至建造了大型临时建筑来容纳延展性的毕业展。我也很高兴看到张子康以馆长的身份加入中央美术学院美术馆。我希望他会把之前图书出版的热忱带入美术馆中,而且我还希望他会很快开设一间大型美术馆书店。中央美术学院百年校庆的系列活动给我留下了非常深刻的印象。我尤其喜欢“先驱之路——留法艺术家与中国现代美术(1911-1949)”,那是非常棒的展览,我也期待着展览画册的出版。中央美术学院拥有着非常棒的人才库,潘公凯、徐冰、王华祥都非常棒,而且范迪安显然坚信美术馆界的重要性。在本土自主策划展览和国外引进展览之间保持恰当的平衡一直是很重要的。就我个人而言,我对本土策划的展览例如北京双年展和中国历史性的展览更感兴趣!有时候,规模较小的展览也可以很棒。更大并不总是更好!有时候“少即是多”。

Ms. Meg Maggio (Middle)