| 讓這些館長們頭痛的問題是，絕大部分的美術(shù)館都存在資金不足問題。李杰民館長表示，館長的首要工作就是要想方設(shè)法去籌集經(jīng)費(fèi)。如果一個美術(shù)館運(yùn)營資金無法保障，當(dāng)然就舍不得掏錢去做宣傳推廣工作。以深圳為例，每年到了秋季，大街小巷四處可見音樂廳或劇院的各種宣傳廣告，相比之下，美術(shù)館展覽的宣傳廣告卻寥寥無幾。 |
The lack of promotion is often due to lack of money. Curator Li Jiemin said the main task of most museum managers is fund-raising. Museums that can barely cover their day-to-day running costs have no money to fund a promotions budget. In Shenzhen there are billboards advertising concerts and plays everywhere, but very few museum ads. |
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館長們還認(rèn)為，美術(shù)館自身還存在一個定位模糊不清的問題。他們達(dá)成的共識是：美術(shù)館應(yīng)當(dāng)是一個綜合了研究、收藏、展覽、交流、教育、服務(wù)的藝術(shù)文化機(jī)構(gòu)。美術(shù)館應(yīng)該是“大眾的美術(shù)館”而非“專家的美術(shù)館”。但現(xiàn)實(shí)往往是，普通公眾無法理解一些展覽和作品的意思，參觀之后并未獲益，久而久之也就不再去看。而美術(shù)館也往往是重展覽，輕教育。
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Another major problem is the confusion over the role of art museums. The curator’s consensus was that an art museum should conduct research, collect and exhibit art works, educates and serves the people. Everyone thought they should belong to the people not just a few experts. But the reality is that many people don’t understand or value art and are not interested in learning. If they visit once they will never return. So many museums are focusing on exhibitions and neglecting their educational role. |
| 美術(shù)館應(yīng)怎樣拉近與公眾的距離 |
How to create art museums that appeal to the public |
| 美術(shù)館能夠走出目前的窘境嗎？研討會上，各位館長們紛紛出謀獻(xiàn)策。 |
The curators gave suggestions on how to drag art museums out of current predicament. |
| 為了在有限的資金下豐富美術(shù)館的展覽內(nèi)容，四川美術(shù)學(xué)院美術(shù)館館長馮斌提出各美術(shù)館互相交換展覽。 “一個展覽籌備一年，花費(fèi)100萬，每次展覽最多展出一個月就完了。但交換展覽的運(yùn)輸費(fèi)僅有幾萬，很合算。” |
Feng Bin of Sichuan Fine Arts Academy Museum said swapping exhibitions was one way to use limited budgets effectively. “Exhibitions normally last about a mouth, but cost a million yuan and a year to prepare. Exchanging collections with other museums costs only a few tens of thousands of yuan in transport costs. It’s well worth it.” |
| 福建美術(shù)館館長游光霖認(rèn)為，要建設(shè)所謂中國特色的美術(shù)館，實(shí)質(zhì)上就是要形成美術(shù)館自身的地域特色，而且地域特色與公眾生活關(guān)聯(lián)度比較大，這就要求美術(shù)館要注重相關(guān)作品的收藏，這樣不僅能辦有特色的美術(shù)館，還可以吸引到更多的普通觀眾。同時，美術(shù)館應(yīng)當(dāng)明確自身的定位，一定要注意美術(shù)館的教育和普及藝術(shù)功能。 |
You Guanglin of Fujian Art Museum said emphasizing regional art, closely related with people’s daily lives, is vital to building museums with Chinese characteristics. Museums should collect art works that are relevant and attract more people. But at the same time, they should pay attention to education and popularization of the arts. |
| 上海張江高科美術(shù)館館長李旭則帶來了一些創(chuàng)新的概念——把美術(shù)館推到公共空間，讓美術(shù)館走向群眾。他為美術(shù)館請來很多藝術(shù)家，已經(jīng)創(chuàng)作了40多件藝術(shù)化的功能性作品，如湖邊的亭子和橋、公交車站等等，采用的都是永久性材料，可以永遠(yuǎn)留在張江。 |
Li Xu of Shanghai Zhang Jiang High Tech Park Art Museum is putting his faith in public art. His idea is to create museums in public spaces and let ordinary people freely interact with and touch the art work. Li has applied his idea in Shanghai. He invited artists to create 40 pieces of public art including functional items such as pavilions, bridges and bus stops. They will be on permanent exhibition in Zhang Jiang Park.
(China.org.cn translated by Ren Zhongxi)
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