Jia Bu: Special Exhibition of "Grass Reckless Age"

Jiabu Photography Xiao Nan

Jia Bu, curator, researcher of special exhibition industry, and founder of Xibu Culture. Graduated from the Chinese Department of Fudan University. He has been engaged in media work for more than ten years, and has served as the director of the "Oriental Morning Post" Cultural News Department and the editor -in -chief of the executive of "Design New Wide" magazine. Continue to pay attention to various cultural and creative industries such as art, architecture, design, and drama. Since 2004, he has been paying attention to special exhibitions and is a member of the Organizing Committee of the Fifth Shanghai Biennale "Image Survival". In 2011, he participated in the exhibition organization of the "2011 Picasso China Exhibition", and edited the "Witness Legend -Picasso's Art Life" published by Shanghai People's Fine Arts Publishing House. In 2012, the special exhibitions of contemporary art and public art began. The projects participating in the planning include the "Zhujiajiao Contemporary Art Exhibition", "remaining value -environmental protection art exhibition" and "2015 Beniu · Shanghai -Large Urban Public Art Exhibition". In 2014, with the continuous attention of the special exhibition industry for many years, it keenly observed the rise of the special exhibition industry and its future broad prospects, and began systematic research on the special exhibition industry. Published "Special Exhibition Era 2.0".

"Beniu", Shanghai's work photography Wu Xiaofeng

Dialogue Jiabu: Special Exhibition of "Grass Reckless Age"

"Special Exhibition" refers to the field -related fields, with the target of ordinary public, under the specific topic planned in advance, the organizer organizes the exhibition content and various industrial resources, with tickets, derivatives and sponsorship as the main as the main as the main as the main topic. The operating model, with the operation model of tour exhibition and foreign industry cooperation, is exhibited at a time limit held in a certain place. The "Special Exhibition" includes the theme exhibitions made by the museum museum, but it is currently mainly art and cultural exhibitions for private capital intervention and commercial occasions.

Question: Is this phenomenon in business exhibitions in business occasions?

Jia Bu: Very common. There are two types of art exhibitions, one is contemporary art, and the other is classical, palace -level art. There are already a lot of contemporary art in business occasions. The palace -level master exhibitions, such as the Moneto exhibition in 2014, is the most typical case. Monet is controversial abroad. How can such master -level works enter the mall? But other types of exhibitions are a very normal social development trend.

Question: What are the differences between the two in the mall and the exhibition in the museum. What are the differences between the two, social and economic benefits?

Jia Bu: This is a completely different, two directions. Social benefits may be the first consideration at the exhibition made in art museums and museums, and they do not consider economic benefits, because the operating costs of the exhibition are paid by the state.

The exhibition made by commercial space or private capital is of course another thing. There is no doubt that it is driven by interest, but you cannot deny its social benefits. For example, there is a Hello Kitty exhibition over there. Many little girls who like Hello Kitty are happy to see it. You ca n’t say that this is not social benefits.

Bu Bing, "Bamboo Book", "Time in Time -Zhujiajiao Contemporary Art Exhibition", 2012 photography Ding Xiaowen

Question: The artwork is displayed in the business space. Because the venue lights, noise, etc. are different from the art museum, can it affect the state of art appreciation? How to solve such a problem?

Jia Bu: It is necessary to discuss two levels of contemporary art and traditional classic art. This is basically not a problem for contemporary art, because contemporary art is alive. For example, my own exhibition of public art, artists often need to look at the venue first. When he creates, he must consider the surrounding environment. Another example is that some conflicts of contemporary art itself and the surrounding environment have made the significance of this work even more prominent and enhanced.

The other is traditional art, such as the level of the palace, it is something left in the past, you cannot ask it to adapt to the space. Generally speaking, it is very harsh on space requirements. The organizer even has to hold the venue contract to start talking with the foreign party. Foreign parties will have strict requirements on this site, such as your high layers, fire channels, windows, elevators, etc. Wait. Then, based on this evaluation list, the foreign party judges whether he can take the risk to exhibition at this place. The evaluation of this risk is directly connected to the insurance company. Can't do it.

"Gravity Field" works- "Ren Landscape" in Jing'an Temple Square

Question: Some people criticize the unable to do art exhibitions in business occasions, just a gimmick, because of being driven by interests, what do you think?

Jia Bu: This is one of the most ridiculous views I think. The quality of the exhibition and the operation mode behind the exhibition are two things in completely different dimensions. They have no positive or reverse association.

The art museum also did too many junk exhibitions, this is the first point. The second point is that as a commercial project itself has a purpose, this is undoubted. For example, it will choose Monet and Renair, because so far Impressionism is something that the public is generally more acceptable, but you can't say how much Impressionism is how much not good. Third, I think a commercial operation company may not choose Duchamp, because the appreciation threshold is too high, but the art museum will be Duchamp because Duchamp's academic status is high. So I think it is everyone's choice.

But in the end, these exhibitions that must be operated by private capital, and the non -profit system of the National Museum of Fine Arts, jointly constructed the entire exhibition market. I don't think there is a competitive relationship between them, because they are actually two types of things. Zhang Bin, "Moon League", the second "remaining value -environmental protection art exhibition", 2014, photography Chen Qihao

Question: What are the controversy about doing art in this kind of business space?

Jia Bu: At present, I have only seen everyone very enthusiastic in China. In a short time, countless curative companies have emerged, and then countless curations have appeared. Now it is a messy fish and dragon. It is really a era of sediment. Negotiation is actually mainly from European countries. I personally support this matter, because the exhibition is diversified, and the diversification of space is an important symbol of industrial development.

Question: What difficulties do you encounter in actual operation?

Jia Bu: When you finish one thing, the point where you fail your work is the most important point. You do one thing, there are a hundred links in the middle. Maybe you do n’t know where there is a problem before, but after the end, you find that you have failed. The point that fails may be the most important.

It can also be said that nothing is not important, the selection of content, or cost control. I mainly refer to the exhibition of commercial operations, not the bill of buying by the state finance. The system of museums and art museums for national finances is also called special exhibitions, but because it does not have operating pressure, it will have a certain relaxation.

Bu Bing, Zhuang Shen, "One Day Tour", the second "remaining value -environmental protection art exhibition", 2014, photography Tang Yu

Question: The Picasso exhibition a few years ago compared with the Monet exhibition and Kusama exhibition last year, the latter two were successful in business. What are the key points of successful exhibitions of art and business?

Jiabu: In the special exhibition market operation, the important factor is more important than content. The success of the Monet exhibition and Kusama exhibition is largely due to the position of the exhibition hall, including transportation and surrounding facilities. The shopping malls held in Monet are located on the most prosperous Huaihai Road in Shanghai. Public transportation and self -driving parking are very convenient.

For special exhibitions that set the ordinary public as the main consumer group, the importance of convenient transportation does not need to be said, and the rich and diverse commercial facilities can make it easy for the audience to pack the art exhibition and other leisure consumption into the consumption cycle for a long time. inside. Watching art exhibitions is an artistic and emotional leisure consumption experience, not a difficult pilgrimage.

Another decisive role in the exhibition is promotion and dissemination. The spread of Monet Exhibition is simply incomparable to the Perseie exhibition in 2011. Whether it is mainstream media or new media, the full report of Monet exhibition is surprising -Monet to sell more than 100,000 pre -pre -pre -sale before the opening. Tickets. This is obviously the double success of the box office and spread, which is a myth that only appears in the media era.

Another time is the timing of the exhibition, which is directly related to the acceptance of the fare in the market. During the Picasso exhibition in 2011, the fare of 20 yuan was still a deep impression in the minds of the public, so the ticket price of 80 yuan can be said to be outdated. After 2011, there were one of the few special exhibitions such as "Pixar Animation 25 Years Exhibition", which gradually changed the audience's concept of 20 yuan fare.

Wang Haisong, "Regenerative Tree", the second "remaining value -environmental protection art exhibition", 2014, photography Chen Qihao

Question: Talk about the exotic cooperation in the special exhibition?

Jia Bu: The main prospects are the tourism industry and the other is the education industry. The education industry is now more parent -child education. It can cooperate with existing parent -child education institutions. I don't think there is no larger market than this market. At the same time, the market for adult education is yet to be developed. The other is the tourism industry, because the behavior of watching exhibitions in different places now exists, and there is a demand for watching exhibition in the transportation circle in one hour. This is also a big space.

"Beniu", Shanghai's work shows photography Wu Xiaofeng in Lujiazui

Question: The increasingly increasing fields of private capital are originally dominated by officials, which will cause changes in the pattern? Where are the opportunities and risks in the future?

Jia Bu: I think the two exhibitions of Kusama Yaisheng and Monet are the historical boundary points of the special exhibition. After these two exhibitions in 2014, because they saw them made money, suddenly many exhibitions appeared, and it was so scary. Not only are there many, but also the quality of quality is different. I call it "quick money to survive", which is a very typical feature.

The organizer has some paintings, but there may not be approved. For example, a total of 50 levels will be encountered. He only gets ten of them, but it will open three months later. Such this is very risky. Now everyone operates like this. Although it can be called rapid development, it is already in a high -risk state.

Now the industry is too chaotic and risks. I have no doubt that I am optimistic about this market. There will be a large number of people who come in, throw a money, and then lose a money. After the loss, turn around and leave. To some extent, it will disturb the market order, but all industries will experience such a reckless era. Below, who has established industry rules.

This article has been authorized by the author

This article was published in the "Favorites/Auction" magazine December 2015 issue

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