Utopia|Progress|Change --- Occidentalism|China Delusion|Babel of Europe 乌托邦|进步|改变 -- 西方主义|中国错觉|欧洲巴别塔

video stills provided by Sylvia Eckermann

In the picture: art work by FENG Zhengjie

Progress, Change and Utopia are three topics of an art project on intellectual and social environments and their relations by Austrian artists Gerald Nestler and Sylvia Eckermann who have worked in many cities in the world. The project is called "Breathe My Air", the two artists interviewed Western and Chinese artists, writers, and curators who have been to the land of each other's and make them talk about what they think of each other's place on those three topics and therefore make a "paradox conversation". They are also preparing to put the videos together and give the exhibition in a pavilion set up in a public space. The pavilion will be provided with air purification and oxygenation system, making it a recreational as well as metaphorical space. According to the artists, "The two basic materials of Breathe My Air are both invisible: air and thoughts... (and) the project examines air aesthetically as a sculpture."

For more information, pls. go to the artists' websites:

Sylvia Eckermann - http://syl-eckermann.net/

Gerald Nestler - http://www.geraldnestler.net/

I was very honored to be included in the interview too. Following is a brief of what I talked about on those three topics.

“进步、变化、乌托邦”是一个叫做“呼吸我的空气”(Breathe My Air)艺术项目的三个话题，这个艺术项目讨论了知识环境与社会环境以及它们之间的关系，由两位在世界很多城市工作过的奥地利艺术家Gerald Nestler和Sylvia Eckermann发起实施。两位艺术家采访了一些来过中国的西方艺术家、作家和策展人，让他们针对中国就以上三个话题进行讨论，同时又邀请去过欧洲的相应中国艺术工作者就此三个话题讨论欧洲，由此形成一个“相互吊诡的对话”。他们接下来准备为这些对话的影像做一个临时展厅(pavilion)，放在公共空间中展出。展厅内的空气会经过纯化和加氧，令人放松，同时又是一个隐喻。按照艺术家的话来说，“‘呼吸我的空气’最基本的两个材料都是看不见的：空气和思想…… 这个项目是将空气看作雕塑的艺术作品”。

欲获取更多信息，请访问艺术家网站：

Sylvia Eckermann - http://syl-eckermann.net/

Gerald Nestler - http://www.geraldnestler.net/

非常荣幸，两位艺术家也采访了我，以下是我就以上三个话题谈论的主要内容。

Advertisement layout of Milan Wedding, a Taiwan-Shanghai based "Wedding Dress Photography" company

“米兰婚纱”（台湾、上海）平面广告

Utopia - Occidentalism  乌托邦 - 西方主义

"Occidentalism"(as an inversion of "Orientalism") is a word I would like to use to describe the idea that images of the West in Chinese/Asian/Oriental people's minds, usually constructed by what they see on TV, in the movies, on the internet, in advertisements, ect., often generate fantasies in their minds and therefore an Utopia of their own.  Paradoxically, they would prefer to use a western image when trying to sell something believed to be luxurious, advanced or stylish. 

“西方主义”（与“东方主义”相对）这个词我在这里用来描述一个事实，即中国人/亚洲人/东方人日常在电视、电影、互联网、广告等媒体上获得的对西方的印象往往给他们造成一种幻想，于是形成他们自己脑中的乌托邦。吊诡地是，在推销那些看作为奢侈、先进、有型的东西的时候，他们往往喜欢借用西方的形象。

Progress - China Delusion  进步 - 中国错觉

The first few images a westerner get on China might include Qipao, a traditional Chinese women's dress, and a Cultural Revolution style patriotic manner as we can see from the picture above. Especially for those who are familiar with Chinese contemporary art figures like WANG Guangyi, a leading Political Pop artist who continues to be popular in the western market, the Cultural Revolution impression is Big. But that is a far cry from the visual experience of a common Chinese nowadays. 

Personally, as a member of the generation born in the early 80's, I feel that my peers and I grew up in pace with the growth of our country, especially in the sense of market economy. We read a lot of revolution hero stories in elementary school that are not so much taught now; and when we were in the 5th or 6th grade, companies like KFC opened their franchises in China; in junior high school, the country started importing blockbusters like Titanic; in senior high school, the Internet came to our life; and since the time we were in college, international brands of fashion and other things like Starbucks were pouring into China. So things in our minds could be very different from the picture of China that people have in the west.

西方人看中国，最初的视觉印象可能会包括上图中的旗袍和那种文化大革命式的爱国主义姿态。特别是那些熟悉中国当代艺术的，西方市场中一直很红的那些像王广义的政治波普式的图像在他们的脑中会是很主要的的印象。但这些印象与现在中国平常百姓的视觉体验已经拉开很大距离了。

特别从个人角度而言，作为生于80年代初这一代中的一员，我觉得我们的成长与这个国家的成长是同步的，尤其是市场经济方面。我们这一代，上小学的时候读了很多革命英雄故事，而这些故事学校里现在大多已经不教了；然后到了五、六年级的时候，像肯德基这样的公司开始在中国开店；初中的时候，国家开始引进“泰坦尼克”之类的大片；再到高中，互联网进入了我们的生活；上大学之后，国际时尚品牌和星巴克之类的连锁店开始大举进军中国。所以我们脑子中的东西与西方人对中国的印象很可能是非常不一样的。

Babel of Europe 欧洲巴别塔

To me, Europe is mostly about lifestyle. When I look at it's history, I see powers tagged with things like denominations, races and languages fought against each other, trying to conquer the whole continent, but they ended up remaining in their own places - where they feel most comfortable with. To be sure, things like denominations, races and languages are fundamental things of people's lifestyle, so when Europe is a continent composed of powers in the unit of small countries, it enjoys a great diversity of lifestyles. For example, Europe has the most brands from Luis Vuitton, Alexander McQueen to Adidas and Swatch.

However, I see things developing into a different way now. The whole world is more and more sharing a similar lifestyle to each other, Europe is no exception either. Ironically, I found some lines in Trainspotting that represents this idea very well, here goes:

"I'm going straight and choosing life... I'm going to be just like you. The job, the family, the f*cking big television, the washing machine, the car, the compact disc and electrical tin opener, good health, low cholesterol, dental insurance, mortgage, starter home, leisurewear, luggage, three-piece suite, DIY, game shows, junk food, children, walks in the park, nine to five, good at golf, washing the car, choice of sweaters, family Christmas, indexed pension, tax exemption, clearing the gutters, getting by, looking ahead, to the day you die. "

Well, Trainspotting was something in the 80's and 90's. In this new era, there are things that connects the world even closer - the Internet, iPod, and... the Financial Crisis.

在我看来，欧洲体现了生活方式的多样化。从历史上来看，各种标以宗教派别、种族和语言等旗号的力量相互争斗，妄以获取整个大陆的控制权，结果却是各自守退到家门口——还是自家地方呆着舒服。诚然，宗教派别、种族和语言之类元素仍是人们生活方式的基本构成，于是欧洲的一个个小国家便作为这些力量争斗的结果呈现出了生活方式的多样性。这种多样性体现在很多方面，比如欧洲拥有最多的品牌，可以从Luis Vuitton, Alexander McQueen数到Adidas和Swatch.

然而，接下去的发展轨迹可能会很不一样。经济全球化已经让我们彼此的生活方式越来越接近，欧洲也不例外。嘲讽的是，我在电影“猜火车”中找到一段台词可以很好地阐释这一点：

“我要向前走，选择生活…… 我会变得像你一样。工作、家庭、他妈的大电视、洗衣机、CD和电动开罐器、健康、低胆固醇、牙医保险、按揭、首次置业贷款、休闲服、旅行行李、三件套西装、DIY、游戏展、垃圾食品、孩子、公园散步、朝九晚五、练好高尔夫、洗车、选羊毛衫、圣诞合家欢、退休金、免税、清理沟槽、混混日子、考虑将来、来世重来（原文是‘直道你翘的那一天’，呵呵）”

不过“猜火车”已经是八、九十年代的作品了。在这个新的时代，还有一些东西把我们的世界拉得更近：互联网、iPod和……金融危机。

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For full text of the transcript (I talked in Chinese in the video but so far I have transcript in English only :), please e-mail me at tonyfu@yahoo.cn

欲察看录像文字稿全文 (在录像中我用中文叙述，但目前文字稿只有英文的 :)，请电邮我至：tonyfu@yahoo.cn

Art Space Talks - Architecture as Media for Art* 艺术发声，建筑为媒*

*a feature for INTERIOR DESIGN China Magazine, Dec. Issue, 2008

*为《室内设计》杂志中文版2008年12月刊特别策划

Image above captured from iTunes visualizer, photos collected from the internet

Wrapped Reichstag, Christo and Jeanne-Claude, Berlin 1971-95

包裹德国国会大厦, 克里斯多& 珍妮克劳德，柏林 1971-95

"SYNTHETIC TIMES – Media Art China 2008", National Art Museum of China 

“合成时代：媒体中国2008”, 中国美术馆

ZHANG Huan, My New York, 2002

张洹，我的纽约，2002

New Media Art, Earth Art / Land Art, Performance Art... More and more, Contemporary art is trying to get access to the public and nature, improving it's quality of interaction and publicity, and therefore integrate itself to our living environment. Accordingly, art space has the full right to convert itself from container of art into a medium that promotes dialogue between art and the  surroundings.

To promote dialogues between art and the surroundings, is to take initiative and reach out to the public instead of waiting to be appreciated there. On one hand, this kind of art space invites visitors to the atmosphere of art in various ways, and even willing to be changed by it's visitors and surroundings; on the other hand, it delivers and "implants" sense of art into the surrounding environment.

Objects that art spaces talk to include visitors, passersby, the community, natural environment and cultural context.

Approaches of these dialogues include:

Movement of art space itself — shifting from one spacial context to another

● CHANEL Mobile Art Pavilion

● Nomadic Museum

Temporary exhibition spaces — interpose art into the surroundings and become a public temptation

● The Serpentine Gallery Pavilions

Architecture as art work itself — deep corporation between artists and architects, blending art, architecture and nature

● Your Black Horizon Art Pavilion

新媒体艺术、大地艺术、行为艺术...... 当代艺术正在 试图重新接近大众，通过强调和发展它的互动性和公共性，努力融入到我们的生存环境之中。相应地，艺术空间也完全有理由从陈放艺术品的容器转变为推动艺术与周围环境之间产生对话的媒介。

艺术空间与周围环境的对话，就是改静态地被欣赏为主动出击，一方面用各种方式把参观者引入到艺术的场域，甚至主动被前来参观的人和周围的环境所改变；另一方面它又实现了一种自我输出，把艺术的气息植入、扩散到周遭的环境。

艺术空间所对话的对象包括前来参观者、路人、周边社区、所处的自然环境、乃至文化语境。

艺术空间与周围环境对话的形式包括：

自身的移动 —— 直接游移于不同的空间环境

● Zaha Hadid设计的CHANEL移动艺术馆是当下的典型例子。这是一个飘洋过海来见你的艺术馆。

● 艺术家Gregory Colbert与不同建筑师合作了Nomadic Museum，期望通过这个艺术馆在全世界的游牧，让他的艺术理想与不同文化产生更丰富的交流。

临时性的展示空间 —— 介入周围环境，造成短期聚集效应

● Serpentine Gallery 每年都会请一位建筑大师在公园中做一个Pavilion(临时展厅)，和其他项目一起，这家画廊每年吸引约750,000 位参观者。

建筑本身作为艺术品 —— 艺术与环境更直接的对话，作品同时往往也能移动

● Your Black Horizon：艺术家与建筑师的合作项目，将艺术、建筑、自然融为一体。

这些主动与环境对话的艺术空间给我们带来的是一改以往祭坛一般的博物馆、千篇一律的画廊白盒子模式的新面貌，用一种极为开放的姿态推进和提升我们的艺术氛围，刺激城市的脑细胞，乃至改善我们的生存环境。而这，本身就是一种艺术。

These spaces can be regarded as pavilions as well. Pavilions are temporary structures with an open attitude and a potential to move, they are great alternatives for art spaces to improve it's interaction with the surroundings nowadays. In 2006, a panel discussion on the topic of "pavilion" was held with a group of leading figures in contemporary art in Venice. Here is an abridged edition of the discussion:

这些空间同时都可以看作为Pavilion。Pavilion这个词的意思比较宽泛，中文可以翻译成帐篷、亭子、临建馆、临时展厅等，一般是临时建筑物。它具有临时性、潜在的移动性和开放性等特质。Pavilion是当前促进艺术与人和环境对话的一种非常好的空间形式，发展前途也非常宽广。2006年在威尼斯，一组当代知名艺术家、建筑师、策展人、学者和赞助人对此进行了一次非常有意义的研讨和探索。我选取了这段对话中的精彩片断，在此与大家分享 ：

Daniel Birnbaum (Städelschule Art Academy Director and Professor): Welcome, everybody. I would like to start with a very general question to the panelists to see what they find interesting about pavilions. Maybe Jude could say a little bit about what pavilions mean?

Jude Kelly (Artistic Director, Southbank Centre, London): I believe that cultural palaces need to continually dissolve because they’re only containers, and actually it’s the ideas inside, bursting forward, that are most relevant. There’s something about temporary pavilions that can be joyful and interesting, and I think this is something you should pursue.

David Adjaye (Architect): Traditionally, pavilions have been used in landscapes. In the twentieth century, there was a precedent of pavilions being used to promote lots of things, including nations.

Hans-Ulrich Obrist (Co-Director, Serpentine Gallery, London): Another aspect of pavilions, which is very fascinating, is the idea of their limited life span, something the late Cedric Price always talked about. He was applying this idea to buildings and also to books, insisting that they should have a limited life span. In this sense, the pavilion allows a form of experimentation, which perhaps a permanent building doesn’t.

Andreas Ruby (Architecture critic and theorist): It is initiative to provide an alternative to the museum as the generic space for the experience of art. The pavilion is a very interesting choice, precisely because it is not really a house. If I am not mistaken, its etymological origin is the word papillon, French for butterfly, and if we think about the life cycle of the butterfly, we remember that at some point it was not a butterfly but a cocoon. For me, architecture is the cocoon, and the pavilion helps to transgress this very clear boundary between the little animal inside the cocoon and the world outside. This dialectic harbors a great potential for a project that aims to create different modes of relationship between art and the viewer than the museum or other established art exhibition setups do.

Francesca von Habsburg (Chairman, Thyssen-Bornemisza Art Contemporary, Vienna): I think that the traditional layout of the museums that I visit on a regular basis, this room-to-room encyclopedic approach to exhibiting, is not at all suited to the type of artworks that I am interested in. Again, that produced another challenge, and I’m asking myself a great deal of questions, integrating personal passions such as landscape, view, the environment that we live in, whether it be urban or the middle of Patagonia, or here by the side of the lagoon in Venice. Incorporating the light, the place, the sounds, the water, you enter the pavilion but can still hear the water lapping against the façade of the island. I like integrating all of these elements into one piece.

Olafur Eliasson (Artist): Furthermore, I think the Guggenheim story has proven to have been a nineties phenomenon; the Bilbao story doesn’t seem to work anymore. I can imagine hundreds of cities like Bilbao having already asked Guggenheim and wanting to repeat the success. I think we are in a different situation in which the brand economy is not just the one that Guggenheim represents. There is an issue of responsibility: if you want to present a work of art, you need to allow that work of art to be in front of the brand. 

Daniel Birnbaum (德国法兰克福市立艺术大学校长兼教授)：欢迎大家。首先我想问问各位主讲人一个非常宽泛的问题，大家为什么认为Pavilion很有意思。

Jude Kelly (伦敦南岸中心艺术总监)：我认为那些文化殿堂只是一种载体，需要逐步地退出文化界，而且实际上它内部喷涌的内涵才是最具实质意义的。那些临时建筑设计可能会更令人愉快、更有趣，我想这也是你们应该继续推行的。

David Adjaye (建筑师)：Pavilion在传统意义上是一种风景摆设。到了20世纪，有人开始利用Pavilion来宣传很多事物，包括国家。

Hans-Ulrich Obrist (联合策展总监和国际项目总监，伦敦蛇形画廊)：Pavilion的另外一个吸引人的特征是它有限生命跨度的理念。这是已故的Cedric Price经常提到的。他生前一直将这个理念运用到建筑和书本上，坚持认为他们应该有一个有限的生命跨度。在这样的意义下，Pavilion极富实验性，或许这是永久性的建筑所做不到的。

Andreas Ruby (建筑评论家和理论工作者)：提供一个有别于博物馆的普通空间去体味艺术是新的方向，其中Pavilion变成了一个很有趣的选择。具体点说因为它不是一座真正的房子。如果我没弄错，Pavilion这个词的词源是法语的“蝴蝶”（Papillon）。如果我们联想一下蝴蝶的生命周期，那么我们便会发现它在某一阶段不是一只蝴蝶而是一个茧。对我来说，建筑物就是一个茧，而Pavilion可以帮助它去跨域茧中幼小的生命和外面世界之间的这条清晰的界限。这个辩证法隐匿了一股巨大的潜力，旨在建立艺术和观众之间的关系，形式不同于博物馆或是其他既成艺术展览馆。

Francesca von Habsburg (维也纳Thyssen-Bornemisza基金会主席)：我认为博物馆传统布局的那种房间挨房间的如百科辞典般的展览方法，完全不适合我所感兴趣的艺术作品类型。所以，这又提出了新的挑战。我总问自己很多问题，关于人性情感的统一性，就像我们居住在的风景、视野和环境里，无论那是在郊区还是在巴塔哥尼亚（南美一地区）中部，还是现在我们所处的威尼斯的湖边。将光线、地点、声音、水融为一体，你进入Pavilion但仍然能听到水拍打在岛礁上的声音。我喜欢将很多事物融合成一个整体。

Olafur Eliasson (艺术家)：另外，我认为古根海姆（Guggenheim）的故事是九十年代的现象；毕尔巴鄂（Bilbao）的故事似乎不再有用了。我可以想象到有成百上千的像毕尔巴鄂这样的城市想要复写当年的辉煌。我认为我们并不处在古根海姆代表的简单品牌经济那个年代。这里有个责任的问题：如果你想要推出一件艺术作品，你需要让艺术作品置于品牌之前。

Fashion Mission of an Art Space - .................... CHANEL Mobile Art Pavilion ............................. 艺术空间，为时尚漂移 - 香奈儿移动艺术馆

Photos provided by CHANEL

Central Park, New York, October 2008 

Morning joggers in NY's Central Park may have been used to all kinds of surprises the city gave to them, but this time, what appeared in front of their eyes is an extraterrestrial spacecraft like jumbo, which have already traveled to Hongkong and Tokyo with works created by 20 artists from different places and times inside. Surprise was more than this to fashion fans, because the mobile art space was tagged by a legendary logo: CHANEL.

纽约中央公园中的晨跑者也许早已习惯了这座城市给他们提供的种种惊喜，但这次出现在他们眼前的，是一个外星飞船般的庞然大物，它之前游历过香港和东京，里面还携带着20位来自不同地域和年代艺术家的作品。对于时尚拥趸来说，惊喜还不止这些，因为这个移动艺术馆还贴着时尚界那个神化般的品牌：CHANEL。

Realization of the Mobile Dream

移动梦想的实现

Mobile architecture is a dream shared by many architects; artists and litterateurs have never stopped their imaginations either - from the Laputa in "Gulliver's Travels" to "Howl's Moving Castle" by Hayao Miyazaki.

Now, we seem to have taken a big stride forward to that dream with CHANEL Mobile Art - a collaboration between Karl Lagerfeld and Zaha Hadid. Zaha explains this process, “The complexity and technological advances in digital imaging software and construction techniques have made the  architecture of the Mobile Art Pavilion possible. It is an architectural language of fluidity and nature,driven by new digital design  and manufacturing processes which have enabled us to create the Pavilion’s totally organic forms – instead of the serial order of repetition that marks the architecture of the industrial twentieth century.”

很多建筑师都有过移动建筑的梦想；文学艺术中的想象更是从《格列佛游记》中的飞岛国到宫崎骏的“哈尔的移动城堡”，从来没有停止过。

如今，在时尚大师Karl Lagerfeld和建筑大师Zaha Hadid的联手打造下，CHANEL Mobile Art这个移动艺术馆让我们朝这个梦想大大地前进了一步。关于构思过程，Zaha解释道：“有赖数码成像软件及建造技术在复杂性和技术性方面的发展，展览馆的计划得以梦想成真。这是强调流动和自然的建筑风格，辅以新的数码设计和制造过程，令我们可以顺利设计了展览馆的流线外形——摒弃了20世纪建筑统一而工整的特色。“ 

Art as Media for Fashion, Architecture as Media for Art

艺术作为时尚的媒介，建筑作为艺术的媒介

Mobile Art was commissioned by CHANEL and conceived by the company’s renowned designer Karl Lagerfeld. It was originally imagined as a means to mark the first appearance fifty years ago of the iconic CHANEL “2.55” quilted stitched-leather handbag. That bag and the traditions of the factory in France, where it is still made today, were presented to Zaha Hadid and the participating artists as jumping off points for their contributions to Mobile Art. The resulting exhibition is a multi-dimensional meditation on fashion as a powerful, exciting, sometimes perverse and occasionally poignant conductor of fantasy, identity, culture and selfexpression.

This is an art exhibition driven by architecture. Karl Lagerfeld was very excited when talking about the idea of a mobile art pavilion, "Normally, people travel to see a museum. Here, the museum travels.”In an interview with The New York Times, Zaha Hadid said she liked the idea that the pavilion "lands, creates a buzz and disappears".

Mobile Art由CHANEL发起，并由品牌享负盛誉的设计师Karl Lagerfeld构思，原意是为了纪念于50多年前面世的CHANEL经典“2.55”菱格纹手袋。Zaha Hadid和各参与艺术家曾造访位于法国生产“2.55"的手袋厂，了解手袋的细节和制件上的传统，为Mobile Art的创作撷取灵感。这个展览对时装作出多方面的探讨，带出时装是既权威又刺激，以不墨守成规的自我风格，间或带有批判性或尖锐的态度，反映了各人的幻想、个性、文化和自我表达方式。

这是一个由建筑带动的艺术展。Karl Lagerfeld说道移动艺术馆的概念时很兴奋：“平常，人们是旅行去看艺术馆；现在，艺术馆踏上了旅途。” 这个奇妙的建筑就如飞行的UFO，将于亚洲、美国和欧洲多个大城市着陆，于各地停留数周。在纽约时报采访中，Zaha Hadid说她就是喜欢让这个临建馆(pavilion)“着陆，发声，然后消失”。

Hong Kong, Feb.-Apr. 2008

Dialogue between Art Space and the Environment

艺术空间与环境的对话

Hong Kong 香港

There seem to be no better place for CHANEL Mobile Art to kick off it's fabulous urban tour of fashion and art (2008-2010: Hong Kong, Tokyo, New York, L.A., London, Moscow, Paris). A criticism by Jonathan Napack (Art Basel advisor and strategist in Asia, Journalist, 1967-2007) cited in an article from ArtForum noted that the town “went directly from feudal poverty to postmodern consumerism without an intervening stage of ‘modernity.’”  Whilst from architecture point of view, Hong Kong is famous for it's modernism architecture, while Zaha is consistent with her quest for complex, dynamic and fluid spaces in CHANEL Mobile Art, which stood it out against the background and changed the landscape nearby.

从2008至2010年CHANEL巡回展览城市——香港，东京，纽约，洛杉矶，伦敦，莫斯科，巴黎——来看，所经之地均为时尚重镇。第一站选在了中国香港，跟这座城市的超前的消费文化决然不无关系。ArtForum的一篇文章中引用了已故巴塞尔艺术博览会顾问及亚洲战略发展策划总监Jonathan Napack给予香港的评价，说这座城市是“无须任何‘现代化’中转阶段，就从封建落后直接进入了后现代消费”。 建筑风格方面，香港是有名的现代主义建筑实验室，而Zaha则钟情于复杂、充满动力和流动的空间。她设计的这个富于弧形和流线型的白色展览馆充满了流动的线条美，凌空而立，与周围的建筑语言形成了鲜明的对比，改变了附近区域的城市地貌。

Tokyo, May.-Jul. 2008

New York, Oct. 2008

Tokyo, New York 东京，纽约

Site selection for the next two stops of CHANEL Mobile Art - Yoyogi Park in Tokyo and Rumsey Playfield in Central Park, New York -  went green and quiet, but they are both popular venues of culture and leisure in the very downtown - very close to the CHANEL stores too. Arrival of the art pavilion brought a new atmosphere to the neighborhood. Especially for Central Park, the representative work of Frederick Law Olmsted, father of American landscape architecture, Zaha's artificial landscape of the  21st century gave the surrounding area a totally new outlook. 

CHANEL Mobile Art接下来的两站则几乎走到了香港选址喧闹环境的对面，都是公园中闹中取静的市民文化休闲活动的场所。艺术馆的到来为当地的市民生活带来了新鲜的艺术气氛，当然——它离CHANEL的门店也不远。CHANEL Mobile Art的建筑放中央公园还有一个特殊的意义：纽约中央公园是美国景观设计之父奥姆斯特德(Frederick Law Olmsted, 1822-1903)最著名的代表作，在其规划建设中特别诞生了一个新的学科——景观设计学(Landscape Architecture)。Zaha Hadid的21世纪人造曲线地貌与公园的历史人造地貌在此相映成趣。

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Note: According to latest news, considering the current economic crisis, the Mobile Art tour after New York has been canceled - what more can I say?

http://www.wwd.com/lifestyle-news/chanel-cancels-mobile-art-tour-1899292?module=today

注：根据最新消息，由于经济危机，这个移动艺术馆在纽约之后的巡展都取消了 - 真不知道还能说什么。

http://article.idchina.net/20081228092155.htm

For full text of the article(Chinese), please e-mail me at tonyfu@yahoo.cn

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