West Bund Art & Design 2019 一年一度,咱们西岸见!

November 8, 2019 2019年11月8日

A decade ago, it would have been hard to imagine that a disused industrial zone on the banks of the Huangpu River could become Shanghai’s premier art hub. But in 2011, an urban regeneration project funded by the municipal government, the West Bund Cultural Corridor Initiative, set out to make just such a transformation a reality. Over the last eight years, the stretch of waterfront has been transformed into a thriving center for contemporary art that rivals New York’s Museum Mile and London’s South Bank.

Today, factories and warehouses still stand as a testament to the West Bund’s past life, though now they’ve been repurposed as hip spaces that every weekend draw crowds of art-goers and selfie enthusiasts. The West Bund Long Museum occupies the site of a coal-processing facility, the Yuz Museum is housed in a former aircraft hangar, and Tank Shanghai, which opened earlier this year, has turned five massive oil silos into exhibition spaces. Such institutions have made promenade the city’s new artistic center of gravity. Yet credit for this transformation also goes to the annual West Bund Art & Design fair, which has played a central role in raising the city’s profile on the international art scene.

十年前,谁也不会想到黄浦江畔的废弃工业地带会成为如今上海屈指可数的艺术港湾。早在 2011 年,上海市政府颁布了重改计划,“西岸文化走廊” 正式启动,让一切转变为现实。随着八年的不断孵化,这片沿岸区域现已成为当代艺术领域里繁荣的中心地带,可以与纽约“艺术馆大道”、伦敦“南岸”同日而语。

现如今由仓库和工厂重新改造而成的前卫空间,每周都会会吸引大量艺术和自拍爱好者。那里承载着西岸的过去与现在。龙美术馆的所在场地,之前被用来进行煤炭加工;余德耀美术馆坐落在以前的飞机仓库里;而今年早些时候开放的油罐艺术中心,则是由五个巨大的石油储备仓改造而成。这些场馆与主办单位,是掀起整座城市新艺术的造浪者。与此同时,一年一度的西岸艺术与设计博览会(West Bund Art & Design)也为这场转变留下了深刻印记,其在打造上海市冉冉升起的国际艺术形象的环节中扮演着中心角色。

West Bund Art & Design is an annual art extravaganza first held in 2014. In its earlier years, it was a much more understated affair, hosting a small selection of international galleries at its riverfront site. But as more and more international galleries have sought to tap into the Chinese art market, the fair has grown dramatically. In 2018, since the refurbished factory workshop that initially hosted the event could no longer accommodate all the galleries and visitors, a new exhibition hall, comprised of three interconnected pavilions, was built across the street. In its sixth edition, which kicked off today, the fair will welcome over 100 world-class galleries from 18 countries in its two exhibition halls, showcasing works from over 800 artists.

With so much to see and so little time, West Bund Art & Design can feel daunting. So, to help our readers navigate the two exhibition spaces, we’ve put together a list of our favorite Asia-based galleries taking part in this year’s festivities.

自 2014 年起,西岸艺术与设计博览会每年都会为我们带来美不胜收的艺术作品。展览创立的早期会精选一些少量来自世界范围内画廊的作品,不过随着越来越多国际艺术画廊尝试进入中国市场,西岸艺博会取得了翻天覆地的变化。2018 年,最初翻修过的工厂车间已经容纳不下所有的画廊和参观者,一个由三个相互连接的展厅在马路对面打造完成,一同承接整场博览会。从开创至今,西岸艺术与设计博览会已举办六届。今年的博览会,两个展厅共收纳了来自 18 个国家中 109 个世界级画廊的作品,展出艺术家超过 800 位。


INK Studio


True to its name and mission, Beijing-based gallery INK Studio has curated a stunning collection of avant-garde works that showcase the versatility and complexity of Chinese ink. This year’s showcase includes an intricate landscape painted on multi-paneled folding screens by Peng Kanglong, a trypophobia-inducing composition by Jeong Gwang Hee, artistic manipulations of language by the acclaimed Xu Bing, and much more.


Kukje Gallery

Kukje 画廊

Kukje Gallery has been a leading name in the Korean art scene since it first opened in 1982. While its long been committed to championing Korean artistic talent, the gallery’s showing at this year’s West Bund Art & Design also includes world-class artists from outside of Asia, such as Julian Opie and Jean Michel-Othoniel

自 1982 年开业以来,Kukje 画廊一直是韩国艺术界的领军者。尽管一直致力于支持韩国艺术人才,但画廊今年在西岸艺术与设计展上也展出了来自韩国以外地区的蓝筹艺术家的精选作品。

Canton Gallery


Displaying only a single work by artist He Chi at their booth, Canton Gallery’s less-is-more approach demonstrates a curatorial confidence that’s hard to not be impressed by. The showcased piece, Goodle, is a visually arresting installation comprised of flawed ceramic creations that exemplify the concept of wabi-sabi, a Japanese philosophy centered on embracing the beauty of imperfection.


Ota Fine Arts


Situated directly inside the main entrance of Hall A, Ota Fine Arts presents an eclectic showcase that feels comfortably out of place from the sterile white environment of the surrounding booths. With its collection of graffiti-covered paintings and disfigured sculptures placed front and center, the Japanese gallery seems keen to continue pushing the boundaries of contemporary art, just as it has done for the past 16 years.

位于主馆A厅一进门处的大田秀则画廊,像是个特立独行的陈列柜,与四面白墙的环境相映成趣。这家日本画廊收藏的涂鸦画作和抽象雕塑摆在最前方的正中位置,就像它过去 16 年所做的那样,大田秀则画廊持续不断地输出当代艺术的最前沿风潮。

ROH Projects

ROH Projects

Jakarta-based gallery ROH Projects returns to this year’s West Bund Art & Design with another impressive showcase of works from a powerhouse roster of Indonesian artists, including an electronic sculpture by Bagus Pandega, conceptual works by Aditya Novali, paintings by Arin Dwihartanto Sunaryo, and more.

位于雅加达的画廊 ROH Projects 今年重返西岸艺博会,提供了强大的印尼艺术家群作,包括 Bagus Pandega 的电子雕塑,Aditya Novali 的概念作品和 Arin Dwihartanto Sunaryo 的绘画作品等。

Galerie Dumonteil


With locations in Paris, New York, and Shanghai, Galerie Dumonteil is a gallery that’s long committed to bridging the gap between the East and the West through art. This year’s booth has been dedicated to French artist Tess Dumon’s solo exhibition A Thing of Beauty is a Joy Forever. The exhibition, with works spanning across a gamut of mediums, blends together elements and concepts from Buddhism, Taoism, and Chinese folklore to form a deeply personal narrative.


Star Gallery & Line Gallery

星空间 & 玉兰堂

At the booth co-curated by Beijing-based art institutes Star Gallery and Line Gallery, description placards for each piece of art are nowhere to be found. Instead, artist names and working titles have been hastily scribbled in pencil on the walls. This same sense of youthful whimsy underpins the collection of art on display, which includes works from comics artist Yan Cong, painter Gao Yu, and more.




Some of the most standout pieces presented by Taipei-based gallery TKG+ are the works of Mit Jai Inn. By applying layers upon layers of paint to a variety of canvas surfaces, the Thai artist creates kaleidoscopic textures and patterns that captivate the imagination.

台北 TKG+ 画廊展位最抢眼的作品是来自 Mit Jai Inn。通过在各种不同的画布表面上涂一层又一层的颜料,这位泰国艺术家创造了千变万化的纹理和图案,供人们展现无穷的想象力。

MadeIn Gallery


Shanghai’s MadeIn Gallery hits all the right notes with its quirky collection of contemporary art. The works include a sculpture depicting the iconic silhouette of Mickey Mouse; a fictional love story printed on A4 paper and held by a pair of robotic hands protruding from the wall; a cluster of grapes with human facial features, seemingly lost in blissful ecstacy; and more.


Gajah Gallery


Attending West Bund Art & Design for the first time, Gajah Gallery has brought along a sizeable collection of works by artists from all over Southeast Asia, including never-before-seen artworks from Singaporean sculptor Suzann Victor, Indonesian painter Erizal As, and much more.

作为首次参加西岸艺术与设计博览会的象画廊,本次带来了来自东南亚各地艺术家的大量作品,包括新加坡雕塑家 Suzann Victor 的作品和印度尼西亚画家 Erizal As 的作品等。

West Bund Art & Design is happening between now and November 10th. Tickets are available at the door and online via Zoqi and Maoyan.


West Bund Art Center
2555 Long Teng Avenue,
Xuhui District, Shanghai


Friday, November 8th, 12pm ~ 7pm
Saturday, November 9th, 10am ~ 7pm
Sunday, November 10th, 10am ~ 7pm





周五,11 月 8 日,中午十二点至晚上七点
周六,11 月 9 日,早上十点至晚上七点
周日,11 月 10 日,早上十点至晚上七点

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Website: www.westbundshanghai.com
Instagram: @westbundartfair


Contributor: Chen Yuan, David Yen
Photographer: David Yen
Chinese Translation: Pete Zhang

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Weibo: www.westbundshanghai.com
Instagram: @westbundartfair


供稿人: Chen Yuan, David Yen
摄影师: David Yen
英译中: Pete Zhang

Whimsical Nostalgia 世界本来就是一场幻觉

November 5, 2019 2019年11月5日

Malaysian illustrator Kexin Tan believes that modern life makes us miss out on the simple pleasures. From the changing shapes of clouds to the subtle gradients of color in the evening sky, we’ve lost the ability to observe the world around us with a sense of wonder. For Tan, illustration is a form of self-exploration that’s helped her rediscover the beauty of everyday life. “There are many—too many—beautiful things in the world. Why not open our eyes and look closer?” she asks. “The piece of Nattō that sticks to a pair of chopsticks could be something beautiful, too. Seeing it clinging to the chopstick could give you a different sense of calm.”

马来西亚插画师 Kexin Tan 认为现代人的生活缺少简单纯粹的乐趣。人们不再关注天空中云朵的形状变化,夜空中色彩浮动的微妙……我们正在失去用好奇去看待这个世界的能力。对 Kexin 来说,插画是自我探索的过程,亦能帮助她重新发现日常之美。“世界上美丽的事物太多了,为什么我们不睁开双眼去仔细看看?纳豆粘在筷子上也可以是很美好的事情,看到它们,会让你有一种平静的感觉。”

Tan draws under the name Wabiko, an alias that has dual origins. The first is wa bi, which means “nose-picking” in Mandarin. The name popped into her head when she realized that she didn’t care how others perceived her, sharing the same indifference as someone who actually picks their nose in public. Second, the name alludes to the Japanese philosophy of wabi-sabi, which stresses the lack of permanence in life and the acceptance of one’s flaws.

作为画家,Kexin 化名为 Wabiko。这个名字有两层意思,“wa bi” 在中文普通话中是挖鼻的意思,当她开始意识到自己不必在乎别人他人的看法时,这个名字突然出现在她的脑海中,字面意思就像是那些在公共场合挖鼻孔的人一样;其次,这个名字也源自日本 “wabi-sabi”(侘寂)哲学的寓意,即生命非永存、接受事物的缺陷性。

Tan’s first solo exhibition, Memories Are Trapped and Kept, has been in the works for the past year. It’s inspired by the memories of people and moments that disappear like a dream, but are still kept within our subconscious and may one day reappear in our lives in the form of déjà vu.

“We often forget about certain chapters or moments in our lives, but they reappear when we see something, hear a familiar tune, or experience a scent,” she says. “We’re reminded of the feelings we used to have. Even though we’re like goldfish, always forgetting, those memories are trapped in our minds subconsciously and kept forever.”

Kexin 的个人作品首展《Memories Are Trapped and Kept》(《被困住和留住的回忆》)从过去一年到现在一直进行。其灵感是人们的一些记忆和经历,虽然像梦般转瞬即逝,却又一直留在潜意识中,也许在某一天就会以记忆幻觉 “déjà vu” 的形式在我们的生活中重现。


Memories Are Trapped and Kept was held at APW Bangsar, one of the premier cultural spaces in greater Kuala Lumpur. A friend suggested the location, and it seemed like a perfect fit, given the site’s history as a printing press. “I felt it had a deep connection with memories, too,” Tan says. “Our life changes throughout time but the imprint of our memories is impossible to wipe away.”

This collection, like most of Tan’s works, plays with whimsy, nostalgia, and surrealism, yet it’s not always cheerful. One illustration, The Lying Android, depicts an expressionless female figure whose belly button is connected to a power socket. She exudes a cold, robotic demeanor, while her elongated Pinocchio nose and blacked-out eyes suggest lying and a desire to hide one’s eyes from the light of truth.

这次展览在吉隆坡著名文化场所 APW Bangsar 举办,选址来自 Kexin 好友的推荐。Kexin 认为这里是举办展览的理想场地,由一间旧印刷厂改造而成,“我觉得这个地方与记忆有很深的联系。我们的生活会随时间而改变,但我们的记忆深处的痕迹却不会消失。”

展览的作品与 Kexin 大多数作品一样,充满奇思妙想、怀旧情怀和超现实主义色彩,风格却不总是欢乐活泼。其中一幅插画《The Lying Android》(《说谎的机器人》),描绘了一个面无表情的女性,她的肚脐连接着电源插座,整个人散发出一股如机器人般冷冰冰的气息,在她的脸上,如皮诺曹般的细长鼻子和无神的眼睛暗示了她的谎言,不愿意让眼睛透露自己真实的一面。

Tan draws in a varied style that shows the influence of Salvador Dalí, René Magritte, David Hockney, Junji Ito, Suehiro Maruo, and particularly the Malaysian artist Roslisham Ismail. Her works are open to the viewer’s interpretation. To her, the world is an illusion: the past is like “a melted candy on the tongue,” with an aftertaste that’s “unreal” and fades like a dream. “I’m someone who tends to overthink, or maybe even obsess. I record the moments in my life—dreams, the universe in my drawings. Words really can’t describe my feelings.”

Kexin 的绘画风格多样,从中可以看到来自萨尔瓦多·达利、雷内·马格利特、大卫·霍克尼、伊藤润二和丸尾末広的影响,其中马来西亚艺术家 Roslisham Ismail 对她的影响最为特别。她的作品开放性很强,令观众自行解读。对她来说,世界本来就是一种幻觉:过去就像“舌头上融化的糖果”,有着“不真实”的回味,像梦一样消散。“我是一个容易想太多的人,甚至会执迷不悟。我会在画中记录自己生活中的瞬间,如梦境和这个世界。我的感受很难用言语形容。”

Tan is aware of Malaysia’s slow development in the art world, but she’s optimistic about the future. As more people take an interest in art, she says, the “hungry” stigma often attached to artists is fading. She’s hopeful that Malaysians will eventually become more daring in their artistic pursuits.

“Now there are more and more platforms for artists to shine and showcase their work. I hope this brings out more talented and inspiring artists,” she says. “Don’t constrain yourself or create art for the sake of approval of others. Create because you want to.”

Ke Xin 觉得马来西亚的艺术界发展太慢,但她对未来保持乐观。她说,随着越来越多人对艺术产生兴趣,人们对艺术家“难以温饱”的印象也在改变。她希望,在马来西亚会有越来越多人能大胆地追求艺术创作。


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Website: wabikowabiko.com
Instagram: @_wabiko
Facebook: ~/wabikowabiko


Contributor: Joanna Lee
Chinese Translation: Olivia Li

喜欢我们的故事?欢迎关注我们 Neocha 的微博微信


网站: wabikowabiko.com
Instagram: @_wabiko
脸书: ~/wabikowabiko


供稿人: Joanna Lee
英译中: Olivia Li

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A Borderless World 无界

November 4, 2019 2019年11月4日

Hemingway called the cultural scene of Paris a “moveable feast,” and this description could be aptly applied to the world that teamLab has constructed. Stepping inside Shanghai’s EPSON teamLab Borderless, you’ll discover a space in constant flux. The artworks within its walls—all of which are inspired by nature and humans—move freely throughout the building in the form of sound, lights, and electricity, appearing before visitors as a visual feast of contemporary art.

By recreating sights and phenomena that we’re familiar with in the real world, teamLab transplants visitors into a lucid dream filled with subterranean springs, crystalline formations, and flower meadows populated by winged insects. Processions of musicians parade across these terrains under rapidly changing weather conditions. Together, these elements form a closed ecosystem where everything seems to meld with one another—it’s often difficult to tell where each installation ends and the next begins. These interconnected sequences explore the cycle of life and death, the communication between all things, among other abstract concepts. And visitors, who find themselves drifting between the real and the virtual, are invited to reflect on the relationship between technology, nature, and mankind.

海明威曾用流动的盛宴来形容巴黎美不胜收的城市人文光景,这样的形容放在 teamLab 所打造的世界或许非常贴切。置身于上海 EPSON teamLab 无界场馆内,你会发现这里任何事物都具有流动性,它们由自然和人文构成,以声、光、电的形式穿梭在场馆内的每一个角落,在参与者面前呈现了一场当代的视觉感官盛宴。


Within the winding corridors of the 6,600 square meters space, over 50 works of art are on display. And surprisingly, no map is provided for visitors. Instead, art-goers are encouraged to navigate the museum by instinct. In a way, the experience is meant to share parallels with life: our curiosity often urges us to explore the unknown and make our own surprising discoveries.

The visitors themselves are an essential part of the teamLab experience, encouraged to engage in dialogue with the creatures and environments. When an art-goer approaches one of the museum’s digital inhabitants, they’ll receive a friendly greeting; and when a flower is disturbed, the petals will fall, and it’ll begin to wither away. However, aside from events being triggered by visitors, the artworks also undergo change on their own. Everything—whether it be people, the artworks themselves, or the passage of time—has an effect on the environment. These interdependent systems and interactions are what make the museum truly “borderless.”

EPSON teamLab 上海美术馆总面积 6,600 m²,共约 50 件艺术品在这个复杂的立体空间内展出。令人意外的是,场馆内并没有明确的地图标示,参与者需要跟随自己的意识与直觉去发现不同的空间,但仔细想一想,当我们面对未知的世界时,好奇心往往会令人们探索更多,并带来更多惊喜。


Through their immersive installations, teamLab aims to introduce a few different concepts. For one, unlikely things making connections and undergoing change may be the best way for us to understand the world; by seeing the birth and death of living things, you discover their frailty. These experiences are all a part of the circle of existence: we have an impact on each other, and this interdependence is what supports and makes the world.

The emphasis on building connections reflects teamLab’s own modus operandi. Founded in Tokyo in 2001, the collective is made up of artists, programmers, engineers, CGI animators, mathematicians, architects, and other experts from various fields. Currently, they have locations and exhibitions throughout the world. Ahead of the opening of their newest museum in Shanghai, Neocha caught up with teamLab’s communication director, Takashi Kudo, to chat about the world they’ve created.


这些观念打造而成的精妙联系,仿佛也映射出 teamLab 的团队运作模式。这支 2001 年成立于日本东京的艺术团队,由艺术家,程序员,工程师,CG 动画师,数学家和建筑师等各个领域专家共同打造。如今他们的场馆与展览遍布世界各地,在上海场馆开幕前夕,我们找到了 teamLab 团队的传播总监工藤岳(Takashi Kudo)先生,与他聊了聊 teamLab 构建的世界。

Neocha: Most of teamLab’s digital works are closely related to the natural world. What is the significance of nature for teamLab?

Takashi Kudo: We’re captivated by the natural world, and we wanted to find our own method of understanding it. The way we hoped to achieve this isn’t only through observing and thinking about it logically but through tactile experiences. Physicality something we wanted to bring to visitors too. The museum is our interpretation of the natural world, and we hope the experience can clearly demonstrate the relationship between people and nature.

Neocha: 你们大部分作品将自然环境与数字相结合,而真实的自然环境对于你们来说,又意味着什么?

工藤岳: 自然令我们着迷,而 teamLab 希望找到自己的方式认知整个世界。我们所认知的世界并不只是通过视觉与大脑,而更多的是身体的感知,这其实都是我们希望参与者体验到的内容。场馆内的所有事物都来自大自然,同时整个展厅是我们对现实自然的全新诠释,我们希望用这样的方式构建人与自然之间的联系。

Neocha: What do you think technology’s role is in contemporary art?

Takashi Kudo: For humans, technology is often a tool, a way of making life more convenient. Technological innovations make art even more accessible. It’s like how somebody invented the canvas, the brush, the easel, and so on. New tools expand the possibilities of art, allowing us to capture things that can’t be explained by words, something we believe in, something beautiful.

Neocha: 当今世界,你认为科技、人类应该是一种什么样的关系?

工藤岳: 对于人类来说,技术是让生活更加便利的工具。如果将技术与创新融入艺术,就像有人为艺术创造了画布、画刷和画架等等用具。而对我们来说,数字与科技同样是我们的工具,是组成我们艺术的关键部分。这些工具能让艺术变得更加容易,让人们获得那些难以用言语表达的事物,以及我们坚信的美好事物。

Neocha: Last year, teamLab Borderless debuted in Tokyo, and now, the Shanghai location is about to open. What are the major differences between the two locations?

Takashi Kudo: How we want visitors to feel in the two spaces are completely different. They each have their own personalities. In Shanghai, there are many new installations and artworks, and certain exhibits are much larger than their Japanese counterparts. What the two spaces do share though are a similar feeling of borderlessness.

We’re very appreciative that China and the local community have given us an opportunity to open a museum here. It was great that we could find partners and meet fans who are excited to see our work here.

Neocha: 世界第一座数字艺术博物馆在东京开幕,该场馆和上海有什么不一样?

工藤岳: 这两个场馆会带给观众完全不同的体验,它们有各自的特点。上海场馆会多一些新的装置和艺术作品,其中一些作品的规模也比东京场馆内的要大。但是,我们希望大家都能体会到「无界」这个概念。

能把场馆开在中国上海,我们深感荣幸。同时我们也非常感谢,大家可以接纳 teamLab,并给我们机会去做这样一件事。我们也很高兴能在上海拥有合作伙伴和喜欢我们的人,这对我们来说非常重要。

Neocha: A lot of people see teamLab exhibitions as an opportunity for selfies and photos. How do you feel about this?

Takashi Kudo: Taking pictures is an act of self-expression. When someone post a photo online, it’s their own creative output. Whether a visitor would like to take pictures or videos in our museums is completely up to them. What’s most important to us is for people to be there, and they can enjoy it as they see fit. For example, how I experience the museum by myself is very different from when I experience it with family and friends. I actually think it’s beautiful that people want to preserve the memories of our work through photos and share it with others.

Neocha: 现如今 teamLab 被部分人看作是拍照圣地,你们如何看待这一现象?

工藤岳: 拍照是一种表达自我的方式,同时它也是你的艺术输出。无论是拍照、摄影还是录音,这一切都取决于你。但最重要的是,你需要亲身去体会。每当我一个人、或是和家人、朋友去看展的时候,都会有不一样的体验。人们愿意记录下不同时刻的感受并分享给他人,这本身一件美好的事情。



Neocha: What can we expect from teamLab in the near future?

Takashi Kudo: We don’t know what the future holds. But we believe in building the future alongside like-minded collaborators. If people enjoy the Shanghai space, we’d love to see if there are other opportunities for more teamLab experiences.

Neocha: 未来,teamLab 还将会带来哪些令人期待的内容?

工藤岳: 我们对未来一无所知。但我们相信,创造未来一定离不开志同道合的合作伙伴。如果人们喜欢 teamLab 上海的场地,我们很乐意寻找机会带来更多体验。

EPSON teamLab Borderless Shanghai opens its doors on November 5th. Tickets are available here.


100 Huayuangang Rd.
Huangpu District, Shanghai
People’s Republic of China

Tuesday ~ Sunday, 10:30am ~ 9:30pm

EPSON teamLab 无界美术馆将 11 月 5 日正式开幕,购票请前往官网


花园港路 100 号


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Website: www.teamlab.art


Contributor: Pete Zhang
Photographer: David Yen
Video Courtesy of teamLab

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网站: www.teamlab.art


供稿人: Pete Zhang
摄影师: David Yen
视频由 teamLab 提供

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