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康蕾(中央美术学院)

KANG LEI
康蕾(中央美术学院)

对话康蕾:无用之用的自然生长 | Kang Lei: The Organic Blooming of Art

2022-09-02 00:00:00 来源:艺术家提供

芳草地艺术

环境艺术访谈系列 VII

Environmental Art Interview Series VII

「环境艺术访谈系列」是由侨福当代美术馆·北京继2021年的「数字艺术访谈系列」后推出的全新主题艺术专栏,此系列文章聚焦于当代环境艺术的发展脉络与由此衍生出的文化现象,并以访谈的形式,每一期邀请国内外知名的当代与环境艺术相关的艺术家,推广者,及收藏家,通过他们的独特视角来解读当代环境艺术所呈现的多元性创造力。

“Environmental Art Interview Series” is a new themed artistic column initiated by The Parkview Museum Beijing following the “Digital Art Interview Series” in 2021. This series of articles focuses on developing contemporary environmental art and its derived cultural phenomenon. In the form of interviews, each issue invites worldwide well-known environmental art-related contemporary artists, promoters, and collectors to interpret the diverse creativity presented by environmental art through their unique perspectives.

侨福当代美术馆

The Parkview Museum

×

康蕾

KANG Lei

Q1

请问是怎样的机遇使您成为一位艺术家的呢?

How did you start your artistic career?

从小耳濡目染,父亲画画,小时候父亲经常出去写生,他的写生特别好,尤其是林区白桦树,还有雪景写生画的特别好。家里书多杂志多,自然而然接触,翻看,上附中、美院后,越深入了解越喜欢,一步一步,由开始的不知不觉到后知后觉,画画与工作、生活已经分不开,创作与生活便逐渐融为一体。

I was deeply influenced by my father since he often went out to paint when I was young. His outdoor works were magnificent, especially the ones representing forests of birches and the snow landscape paintings. I would often leaf through many books and magazines at home. After attending the Academy of Fine Arts, I realized that the more I delved into contemporary art, the more I was into it.  Step by step, painting, working, and life started to be interconnected, and creation was integrated into my daily life.

https://img10.artimg.net/public/beian/jpg/202209/860c07f90e3fd980dd2f84ea9f8835e0.jpg

《记忆痕迹》Traces of Memory, 2022

布面丙烯 Acrylic on canvas

120 × 100 cm

图片致谢艺术家 Image courtesy of the artist

Q2

自然的元素常是您作品中的核心内容,那么在创作过程中您又是如何选择视觉元素的呢?

Natural elements are often at the center of your creations. How do you select your visual repertoire?

https://img10.artimg.net/public/beian/jpg/202209/0928fc1b494eac4b0492714a279a9f36.jpg

《乐园 2016,生长》Paradise 2016, Growth, 2016

(局部 Details)

坦培拉 Tempera

200 × 140 cm

图片致谢艺术家 Image courtesy of the artist

通常有两种情况交错发生。一种情况是“有感而发” 这个“感”是想法、是念头。在视觉元素的背后,隐伏的是对生活的某种认识和思考:有所“感”遂有所发现。于是,心里有什么就会“看见”什么,再用作品表达出来;还有一种情况,是先“看见” 被触动了,再有所感。画画的人感官敏锐,经过艺术训练的眼睛会从大量丰富的视觉形象中自动选取,进而提取需要的元素。直观的发现依赖于敏感和好奇心,比较容易发现被人们忽略的一些存在。

There are usually two scenarios that can unfold. The first one has to do with “being touched and expressing one‘s feeling”: the concept of feeling is associated with the idea of thoughts.  Behind the visual repertoire is a hidden understanding and thinking about life; the sense leads to discovery. Therefore, mental perception is what is represented in the work of art. The second scenario has to do with the fact that what is visible is firstly touched and then felt. Painters have acute senses. Their artistically trained eyes will automatically select and then extract the desired elements from a large number of visual images. Visual discovery, which relies on sensitivity and curiosity, enables artists to easily discover traces of existence that would normally be overlooked by common people.

https://img10.artimg.net/public/beian/jpg/202209/3a42d0004fd5b5e44bbd633d3ecb15b2.jpg

《选择的选择》The Choice of Choice, 2022

布面丙烯 Acrylic on canvas

120 × 100 cm

图片致谢艺术家 Image courtesy of the artist

Q3

在“乐园”等系列作品中,您描绘了一个郁郁葱葱的大自然,画面充满了活力和生机,其中仙人掌、向日葵和热带植物成为了画面表现的中心。请问您这一系列作品的灵感来源是什么?

In the series of works like Paradise, you depict a luxuriant and verdant nature, full of energy and vitality, where cactus, sunflowers, and tropical plants are often at the center of the pictorial representation. What was the source of inspiration for this series of works?

https://img10.artimg.net/public/beian/jpg/202209/b6118b80795c6c52048dcbce7d8dcf2e.jpg

《乐园 - 仙人掌2》Paradise - Cactus 2, 2016

板上裱布、坦培拉 Laminate on board, tempera

直径 Φ 100 cm

图片致谢艺术家 Image courtesy of the artist

“乐园”主题是借用植物创造一个超越自然意向本身的隐喻性质的世界,旨在反思现实本身。我会关注自然物象,选择造型和感觉都贴合表达的自然元素来构建画面。仙人掌、向日葵和热带植物形象都是来源于我的视觉经验范畴。在云南、北美和南美等地看到过大量的植物,仙人掌尤其契合我的表达需要,以及我作品发展的逻辑和演变关系。简单说,最开始创作是以人为主,表现女性;而花是女性的象征,植物逐渐开始出现在背景与人物并置,渲染人物内心的情绪和画面氛围;后来,植物形象经常直接替代人物,寓示女性形象;再后来用“乐园”这一主题在纷繁芜杂中梳理对现实的认识与思考,“乐园”是现实世界的隐喻,也是精神世界的象征。

The theme of “Paradise” takes plants as a visual starting point to create a metaphorical world that transcends nature, intending to reflect on reality. I focus on images of natural elements for my visual repertoire. Images of cactus, sunflowers, and tropical plants are all derived from my visual experience. I have seen many plants in Yunnan, North and South America: the cactus is in line with what I would like to express. In the beginning, the main visual elements in my paintings were human figures, especially women, as flowers often symbolize women. However, plants gradually began appearing in the background alongside human characters to represent the characters’ inner emotions, bestowing the work with an anthropological connotation. Later on, images of plants gradually started to replace human characters. Afterward, I used the theme of “Paradise” to express an understanding and a perception of reality within the chaos. “Paradise” is a metaphor for the real world and a symbol of the spiritual world as well.

https://img10.artimg.net/public/beian/jpg/202209/8eb4da6e6c55b0b1dbcb821fb58fd46a.jpg

《乐园 2016,刺痛》Paradise 2016, Aching, 2016

(局部 Details)

坦培拉 Tempera

200 × 140 cm

图片致谢艺术家 Image courtesy of the artist

Q4

在您的作品《小径分岔路的花园》中,您对看似无关的自然元素加以并置的手法,将观者带入了一个梦幻、迷人、富有诗意且神秘的维度。您可否就这件作品以及这一系列作品的起源进行更深入的讲解呢?

In The Garden of Forking Path, the juxtaposition of apparently unrelated natural elements brings the viewers into a dream-like, fascinating, poetic, mysterious, and bewildering dimension. Could you comment on this and on the genesis of this series of works?

https://img10.artimg.net/public/beian/jpg/202209/2854fd9f3ca0e584e521214193f4b036.jpg

《小径分岔的花园》The Garden of Forking Path, 2017

综合材料 Mixed media on canvas

200 × 700 cm

图片致谢艺术家 Image courtesy of the artist

《小径分岔的花园》源于对时间概念的着迷,画的是我在世界各地不同时间、不同空间看到的景物,就像博尔赫斯书中写到小径分岔的花园并不是指一个真正的花园,我在画中记录的是时间,是不同的经历和感受。这些物象:人物、花朵、纷杂生长的植物、浓绿色的仙人掌、红色的山脉、静静的黑水。这里有明确的选择和说来话长的一些关联、想象与暗示。画里边的繁简、疏密、浓淡、虚实的布置安排,贯穿的组织原则和结构章法,都是根植于长久以来对于气脉连绵,相续不断的传统绘画规律的喜好与研究。

The Garden of Forking Path originates from my fascination with the notion of time. It depicts scenes I have seen in different places at different times around the world, just like the forked path in Borges‘ novel does not refer to a real garden. In my paintings, I recorded time, diverse experiences, and visual elements spanning human figures, flowers, growing plants, green cactus, red mountains, and still black water. There are clear choices and long stories of associations, imagination, and implications. The arrangement of complexity and simplicity, density, thickness, virtuality, and reality in the painting, as well as the organizational principles and structural rules that run through my works, are all rooted in the long-term preference and study of the aesthetic principles of traditional painting.

https://img10.artimg.net/public/beian/jpg/202209/a75870ad1200879aec4013e430351c1f.jpg

《小径分岔的花园》The Garden of Forking Path, 2017

(局部 Details)

综合材料 Mixed media on canvas

200 × 700 cm

图片致谢艺术家 Image courtesy of the artist

在准备这张创作的时候,大量的,庞杂的,鲜活的视觉形象很难遴选,这也是我当时没有做稿子的原因。但是一旦开始上手画,在画的过程中,我的感受,直觉和判断就打通了,记忆中的形象会自动奔涌浮现、聚散,慢慢形成画面,画的过程中自然而然就开始知道哪些元素是想要的。画面仿佛自己会生长,不是一个场景累加下一个的场景,而是一个形象生发出另一个形象,直觉判断明确肯定,不再需要纠结怎么选择。画中形象的生长过程也是暗合着中国传统绘画中的疏密关系,起承转合,取势平衡的规律而构成的。

When I started working on this series, the selection of the visual repertoire was very challenging: this was also why I did not work on a manuscript then. Once I started to paint, my feelings, intuitions, and judgments would play an active role in the painting process. The images in my memory would spontaneously emerge, gather and disperse to create the visual structure of the painting. While painting, I would naturally begin to know which elements I wanted to include. The picture seemed to grow on its own, not by adding scenes one next to the other but by creating layers of images. When intuition and judgment are clear and stable, there is no longer the need to struggle with visual selection. Behind this work’s creative process are traces of the relationship with the principle of balance within Chinese traditional panting.

https://img10.artimg.net/public/beian/jpg/202209/34c4cc24310c20de827f52fdeea159bf.jpg

《小径分岔的花园》The Garden of Forking Path, 2017

(局部 Details)

综合材料 Mixed media on canvas

200 × 700 cm

图片致谢艺术家 Image courtesy of the artist

Q5

在您近期的作品中,人类的存在被边缘化了,空间被自然的表现所支配。请问您如何看待人与自然的关系,以及如何通过艺术来处理人与自然的关系?

In some of your latest work, human presence is marginalized, and the space is dominated by the representation of nature. What do you think about the relationship between humans and nature and how art should address it?

顺应天道,万物自然和谐。

Complying with the law of nature, everything is naturally harmonious.

https://img10.artimg.net/public/beian/jpg/202209/fa2342ad1b0989dda9cab6a637847998.jpg

《乐园 2020, STOP》Paradise 2020, STOP, 2020

布面油画 Oil on canvas

170 × 240 cm

图片致谢艺术家 Image courtesy of the artist

人的生命个体,也是历史,文化和社会的产物。文化与我们生存的环境息息相关,地球上有那么多丰富多样的自然气候环境和不同地貌,也因此,人类发展史才有不同的历史和文明;同一个国家的不同地区也有着不同的风土人情和生活习俗。我国境内从南到北,由东至西都相距有5000多公里,习俗也差距很大。我们身处自然,也属于自然的一部分,对自然应有谦卑之心。

Human life is the product of history, culture, and society. Culture is closely related to the environment in which we live. The different climatic areas and geographical environments on earth determined different evolutions of human civilization. Different regions of the same country have various local customs and lifestyles. In China, for example, the huge distance (more than 5,000 km) between the south and the north determined the emergence of different customs and habits.  We live in nature, we belong to nature, and we should be humble in front of nature.

https://img10.artimg.net/public/beian/jpg/202209/fcd3b5ad5dd3fe8630e486bd81e51adc.jpg

《乐园 2019,浮光掠影》Paradise 2019, Glimpse, 2019

坦培拉 Tempera

200 × 280 cm

图片致谢艺术家 Image courtesy of the artist

文化发展,科技进步使人类更了解自然。适当的改造,开发和利用自然环境是为了更好地生存和发展,但不能不计成本地肆意破坏生态。强大的征服欲使人类经常违背自然规律改造天地,人的自以为是反而会促成灾害的发生,使生存环境进一步恶化。

Cultural and scientific developments enable human beings to understand nature better. Transformation and exploitation of the natural environment aim to improve living conditions; however, we cannot arbitrarily destroy the ecosystem. Human greed and the willingness to exert control pushed humans to violate natural laws and transform the environment, which will cause natural disasters and a decline in our living environment.

https://img10.artimg.net/public/beian/jpg/202209/9aa467d8c80a19ee143e7b209f22b008.jpg

《乐园 2021,世界》Paradise 2021, World, 2021

(局部 Details)

丙烯 Acrylic

200 × 420 cm

图片致谢艺术家 Image courtesy of the artist

艺术是无用之用,艺术作品不管是记录自然的美好,或借用植物生长表达生命感受,还是反映生态和时代问题,这些都是对人类自己的提示,提醒人们自然的重要性,唤起观者的情感共鸣,思考人与自然的关系。自然是永恒的,我们是自然世界的过客,但艺术和文化却也是永恒的。

Even though art has no utilitarian goals, artworks can record the beauty of nature, express feelings of life by representing plants, and encourage a re-thinking of ecology-related issues. In any case, art plays a fundamental role in raising people‘s awareness about the importance of nature while awakening emotional resonance with the viewers and enabling people to reflect on the relationship between humans and nature. Nature is eternal, and we are just passers-by in the natural world, but art and culture are also eternal.

Q6

您认为艺术家能否通过当代艺术这种复杂、隐喻和充满诗意的语言来提高人们对自然保护的重要性的认识,并鼓励公众采取行动以共同走向更具有可持续性的未来呢?

Through contemporary art’s complex, metaphorical and poetic language, do you think artists can raise people‘s awareness about the importance of protecting nature and encourage the public to take action towards a more sustainable future?

https://img10.artimg.net/public/beian/jpg/202209/989fae08fbfc60ab1146120d06243f9c.jpg

《乐园 2021,世界》Paradise 2021, World, 2021

丙烯 Acrylic

200 × 420 cm

图片致谢艺术家 Image courtesy of the artist

我相信这样的意识和努力是有意义的,也是值得的,努力随着时间会显现出来。可持续的发展需要所有人的努力,每个人用自己的方式,包括低炭环保,或改变日常生活习惯,使世界变得更好,或者说不变得更糟。

I believe such awareness and effort are meaningful and worthwhile, and the effort will manifest itself over time. Sustainable development requires everyone’s efforts. Everyone changes their daily habits in their own way, everyone should cherish environmental protection through low carbon, with the aim to make the world a better place to live in.

https://img10.artimg.net/public/beian/jpg/202209/99c6683b480a2cbae7f84ae3ebaadc96.jpg

《乐园 2021,世界》Paradise 2021, World, 2021

(局部 Details)

丙烯 Acrylic

200 × 420 cm

图片致谢艺术家 Image courtesy of the artist

艺术家观察自然,专注于把直观感受内化,经过思考,理解,凝练,再以创作的方式外化呈现出来,吸引公众注意到相关问题。我在乐园系列作品中用自然景象交织想象表达人的生存隐喻,也是用创作提醒人们感受人与自然的关系。人的领悟力和敏感度也是有差异的,不同的人和不同的艺术作品能同频共振。

Artists observe nature and focus on internalizing intuitive feelings after thinking and understanding. Then they externalize and represent their thoughts and ideas in their works of art to draw the public‘s attention to societal issues. In the Paradise series of works, I present natural scenes as metaphors for human existence to enable people to feel the relationship between man and nature. There are also discrepancies in people’s perception and sensitivity, but different people and different artworks can resonate at the same frequency.

https://img10.artimg.net/public/beian/jpg/202209/d992f62d4314b96da9243122ea2a58f6.jpg

《万物共生》Garden of Kyosei, 2021

(局部 Details)

装置 Installation

与佳能品牌合作完成的艺术项目 In collaboration with Canon

图片致谢艺术家 Image courtesy of the artist

https://img10.artimg.net/public/beian/jpg/202209/0bb852d62986c15447051a03d598163d.jpg

《圆规在草地上画着圆圈》Compass Drawn Circles on the Grass, 2021

板上裱布,丙烯 Laminate on board, acrylic

直径 Φ 100 cm

图片致谢艺术家 Image courtesy of the artist

“黎明时的天空泛着青白色。两位细长的黑衣人持剑立正站好。那麻风病人吹响号角,这就是开始的信号。天空像一张绷紧的薄膜似的颤抖着,地洞里的老鼠将爪子抓进土里,喜鹊把头扎进翅膀下面,用嘴拔腋下的羽毛把自己弄疼,蚯蚓用嘴咬住自己的尾巴,毒蛇用牙咬自己的身体,马蜂往石头上撞断自己的蜂刺,所有的东西都在反对自己,井里的霜结成冰,地衣变成了石头,石头化作了地衣,干树叶变成泥土,橡胶树的胶汁变得又厚又硬,使所有的橡胶树统统死亡。人正在这样同自己撕打,两只手上都握着利剑。

两位剑客互相扑过去,有防守,有伴攻,木头脚在地上跳来跳去,圆规在草地上画着圆圈。”

-- 《分成两半的子爵》卡尔维诺

“It was a greenish dawn; on the field, the two thin black duelists stood still with swords at the ready. The leper blew his horn; it was the signal; the sky quivered like taut tissue; dormice in their lairs dug claws into the soil, magpies with heads under wings tore feathers from their sides and hurt themselves, worms‘ mouths ate their own tails, snakes bit themselves with their own teeth, wasps broke their stings on stones, and everything turned against itself. Frost lay in wells, lichen turned to stone and stone to lichen, dry leaves to mould, and trees were filled by thick hard sap. So man moved against himself, both hands armed with swords. The compass legs made circles on the field and the duelers flung themselves into assaults of clanking metal and thudding wood, into feints and lunges.”

The Cloven Viscount by Italo Calvino

Q7

请您与我们分享一下您未来的项目。

What are your future projects?

创作还是和疫情影响有关,聚焦对存在状态的思考,认识世界。疫情已经三年了但还在过程中,突发状况还时不时的带来不安和恐慌,让正常生活一下运行缓慢,有时停滞。身在其中不可能不关注,所以创作视角还是对现阶段世界的观察。关注身边具体的,真实的生活;关注媒体报道的社会资讯,了解世界的矛盾、分歧、冲突和差异。我做不到无视、也很难无动于衷、泰然处之,只能时不时地抽离,自我调整。借助不那么具体的、也不那么真实的自然物象转化创造“人间乐园”,在作品中寻求精神世界和内心的平衡。

My latest works are still influenced by the pandemic, and they focus on the existence and understanding of the world.  After three years after the outbreak of the sanitary crisis, the pandemic still brings anxiety and panic from time to time, causing setbacks in our daily life. This life experience has an impact also in creative life. I cannot help but focus on real life around me and on the news reported by the media to understand the contradictions, divergences, conflicts, and differences in the world. I cannot ignore it, and it’s hard to be indifferent and calmly get along. I can only withdraw and adjust myself from time to time. Through the artistic transformation of less real and concrete natural elements,  I created  “Paradise on earth” to achieve a balance between the spiritual world and my inner feelings.

https://img10.artimg.net/public/beian/jpg/202209/892e079ec8917d3659e011ff26bd8fc2.jpg

《向日葵》Sunflower, 2022

布面丙烯 Acrylic on canvas

100 × 120 cm

图片致谢艺术家 Image courtesy of the artist

正在创作过程中的有年前就开始画到现在的《乐园.存在的喧嚣》,还有,有感于上半年上海疫情创作的《繁花》,让自然里、生命里、文化里很多美好的事物来对抗现实中的无奈。《繁花》与《小径分岔的花园》一样借用了书名,金宇澄的《繁花》;《乐园.存在的喧嚣》中“存在的喧嚣”则是取自巴迪欧的《德勒兹:存在的喧嚣》。

There are more works in progress, including Paradise: The Hustle and Bustle of the Existence, which I started a year ago; Blossoms, created in response to the epidemic in Shanghai in the first half of this year, to create beautiful images to oppose against the helplessness of reality. Like The Garden of Forking Path, Blossoms borrowed the title from the work of Jin Yucheng; “Paradise: The Hustle and Bustle of the Existence were taken from Badiou‘s Deleuze: The Clamor of Being (Badiou Deleuze La Clameur De L’être).

关于受访者

About the Interviewee

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康蕾,艺术家,美术学博士,中央美术学院中央美术学院油画系教授、硕士生导师。中国女画家协会常务理事,北京当代中国写意油画研究院第二届研究员,中国美术家协会会员。作品曾于第14届达喀尔非洲当代艺术双年展、第十四届巴库里蒂巴双年展、北京国际双年展,AISA NOW 巴黎亚洲艺术博览会,加拿大 UBC 亚洲中心、巴黎大皇宫,韩国光州市立美术馆,德国柏林中国文化中心、智利普罗维登文化中心、西班牙巴塞罗那 MEAM 现代艺术博物馆,基辅乌克兰宫,纽约艺术学院,俄罗斯列宾美院美术馆,巴拿马运河博物馆,巴拿马当代艺术馆,白俄罗斯明斯克 ,俄罗斯中央美术馆,哥斯达黎加国家画廊,丹麦,悉尼、秘鲁利马等艺术展等展出;作品被中国美术馆、中央美术学院美术馆、中国国家大剧院,时代美术馆,嘉德艺术中心,东艺美术馆,AISA 基金会等艺术机构收藏。

Kang Lei, artist, doctor of fine arts, professor, and tutor to master degree in the Oil Painting Department of the Central Academy of Fine Arts. Executive director of China Women Painters Association, second researcher of Beijing Contemporary Chinese Conceptual Oil Painting Research Institute, member of China Artists Association. Her works have been exhibited in the 14th Dakar Biennale of African Contemporary Art, the 14th Curitiba International Biennale of Contemporary Art, the Beijing International Biennale, AISA NOW Paris Asian Art Fair, UBC Asia Center in Canada, and the Grand Palais in Paris, Gwangju Museum of Art, South Korea, China Cultural Center in Berlin, Germany, Providencia Cultural Center in Chile, MEAM Museum of Modern Art in Barcelona, Spain, Ukraine Palace in Kyiv, New York Academy of Arts, Repin Academy of Fine Arts in Russia, Panama Canal Museum, Panama Contemporary Art Museum, Minsk, Belarus, Central Art Museum of Russia, National Gallery of Costa Rica, Denmark, Sydney, Lima, Peru, and other art exhibitions. Kang Lei‘s Works were also exhibited by the National Art Museum of China, the Art Museum of the Central Academy of Fine Arts, the National Centre for the Performing Arts of China, and the Times Art Museum. They were collected by Guardian Art Center, East Art Museum, AISA Foundation, and other art institutions.

当前展览 | Current Exhibition

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参展艺术家 Artists:

卡拉·马蒂 Carla Mattii / 唐纳德·巴斯勒 Donald Baechler /

大卫·萨利 David Salle /  贾尼·德西 Gianni Dessi  /

朱利安·施纳贝尔 Julian Schnabel / 刘小东 Liu Xiaodong /

李晖 Li Hui / 马西莫·巴尔扎利 Massimo Barzagli /

马克·奎因 Marc Quinn / 奥尔加·托布雷卢斯 Olga Tobreluts /

彼得·哈利 Peter Halley / 雷纳·费廷 Rainer Fetting /

武明中 Wu Mingzhong / 杨韬 Yang Tao / 喻红 Yu Hong /

郑路 Zheng Lu

观众须知

疫情防控进入常态,侨福当代美术馆·北京从2022年5月31日起实行预约观展:每天参观人数上限50人

In light of the normalcy of Covid-19 prevention in Beijing, the Parkview Museum Beijing has reduced the daily reservation number from May 31, 2022.

Every Day: No more than 50 people per day.

开放时间  Opening Hours:

周一至周日 Mon. - Sun.

10:00-19:00

(18:30 停止入场 | Admission before 18:30 )

预约方式 To Reserve:

请在”芳草地艺术“公众号中的微信小程序内,或长按下方图片按照提示步骤进行预约

Please follow the online instructions in our WeChat mini program to make your reservation

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​  注意事项:

1. 实名制预约参观,每人每天仅限一次预约。

Real name registration is required. There is a limit of one reservation for each person per day.

2. 观众入馆须接受体温测量,并出示 “北京健康宝”及72小时内核酸阴性证明,核实未见异常方可登记入馆。如有体温异常(≥37.3℃),或有咳嗽、气促等异常情况的观众谢绝入馆,敬请谅解。

Visitors must accept body temperature checks and show health status on the page of “Beijing Health Kit,” together with a negative PCR test result within 72 hours at the reception; visitors with a body temperature of more than 37.3℃ or with the symptoms of cough or shortness of breath are not allowed to enter the museum.

3. 儿童参观需由成人陪同并同时预约,参观规则与成人相同,儿童健康状态可在“北京健康宝”小程序使用“他人健康状态代查”获取。

Children should be accompanied by an adult during the visit and must also register. It is possible to get children’s health status by using “other people‘s health status check” within the “Beijing Health” program.

4. 入馆参观需全程佩戴口罩。

Please keep the mask on throughout the entire visit.

5.  排队和参观时请保持1.5米以上距离, 建议参观控制在2小时内。根据实际情况,观众需配合工作人员的安排,错时、分批入馆。

When queuing, please keep 1.5 meters distance; we strongly suggest keeping the length of the visit within 2 hours. Please follow the staff’s arrangement according to the actual situation.

侨福当代美术馆·北京

The Parkview Museum Beijing

周一 至 周日 Mon. - Sun.

10:00 - 19:00

免费开放

北京市朝阳区东大桥路9号侨福芳草地D座10层

侨福当代美术馆·北京

L10, D Tower, Parkview Green, No.9 Dongdaqiao Road, Chaoyang District, Beijing, China

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