Human power in the face of art lifted by capitalHuman power in the face of art lifted by capital

Attend the ICOM 24th General Conference of UNESCO in Milan this time. Generally speaking, although the depth of capital affects the art platform, politics affects capital, but the power of humanity and faith Still deeply in art and culture, it plays a role.

The biennial World Gallery Museum Conference is held in Milan, Italy this year. Before I went, I asked the curator of Guggenheim, New York, who happened to be on my talk show in Paris, if I would meet again there. She told me that I had been invited several times in a row, but I didn’t have time to go.

When you arrived in Milan, take a closer look. None of Tate, Guggenheim and Pompidou, or even the Louvre, the founding museum of the World Museum Museum Board, was there for visibility. However, the less well-known art galleries and museums have come from all over the world, seeking to communicate through inter-library, and compare the gorgeous cooperation models among the few international major museums to see if there are any technical and formal The process can be referenced and copied to see if the local characteristics can be combined with international trends.

In fact, several of the world’s most powerful art galleries and museums have done their work and presentation in a way that feels solemn, inseparable from having strong capital support behind them. In the process of creating the status of artistic works of an era, the interest points of capital gamers of this era, their participation, their collections and their heritage are closely linked with the creative career and economic life of artists. How diverse are the trends of thought in the capital society, how rich are the concepts in the art works they choose. To a large extent, works of art are both mirrors of the capital game, as well as relics and symbols with capital gold content.

Before the opening of the conference, I had two assumptions. Either the major museums and art galleries attending the conference seek a new model and new game rules, so that art creation and works of art can have enough platforms to reflect on the deepening capital monopoly, and use the power of art to brainstorming ideas. Either turn a blind eye to the role of capital monopolies, just look at how to stay active in their already stretched budgets, in other words, treat the symptoms but not the problems of local research.

At the venue, in the keynote speech of the opening ceremony, artist Christo was talking about the creative freedom he pursued throughout his life, inadvertently revealing his budget for those temporary performing installations: 60 million euros per installation. Some Russian art museums asked timidly, if they could consider going to their exhibitions, Christo said proudly, you do n’t have collectors of my works, and I have no way to exhibit them. Christo revealed that, in fact, wherever a collector collects his sketches and models, he has the money to exhibit them. In Russia he did not have a collector and he would not hold exhibitions there.

Christo’s speech reveals at a glance the relationship between the monopoly of capital and the helplessness of most galleries and museums. In a middle-class living space that is increasingly suffocating, airports, kindergartens strike in Europe, in a society where the government does not have the money to properly house refugees, 60 million euros are used to wrap mountains and rivers in cloth to find the capital of visual pleasure and pass The tax-raised art funds are actually telling the majority of the taxpayer-supported art museums and middle-class art institutions gathered here. The serious imbalance in the distribution of world wealth can be clearly seen in the art world: large consortia are idle or How tax-avoidant capital has helped to stand out from the crowd.

The host country ’s Italian Minister of Culture and the Mayor of Milan have mentioned in their speeches that art galleries and museums must serve the people, the exhibitions must be visible, and they must be welcomed by the masses. Politicians hope that art galleries and museums can use the display of collections to promote the development of local tourism, not just as a window safe. In other words, Italian politicians avoided the relationship between capital and art galleries and museums, but emphasized the functions of art galleries and museums in the entertainment life of the people and the role of these functions in the tourism economy. They want to win voters through the art museum and promote the local economy.

On how to deal with the relationship between capital and art galleries and museums, I was deeply impressed by the performance of the Beijing government. The capital from China first sponsored the Milan World Art Museum and Museum Conference. They appeared in the best advertising positions on the various online platforms of the conference. The physical booths of the participating Chinese art museums were most prominent. In terms of curatorial design, at first glance, there is a lot of budget investment. The delegation of the Chinese mainland also frequently held forums at the exhibition site, and it was very popular in terms of voice. This is the same reason that Chinese capital sponsors mainland artists to donate their works to the Pompidou Museum of Modern Art. China is transmitting Chinese aesthetics and Chinese art value to the international art community through capital.

At present, Taiwan ’s relations with the mainland are generally encountering more complicated problems than in the past. The development of the situation across the Taiwan Strait has greatly reduced the interest of mainland Chinese capital in Taiwan investment. However, at this World Art Museum and Museum Conference, the interaction between the art museums and museums across the Taiwan Straits has made the world see that the friendship established between the two sides in the past few years of cooperation remains strong. At the beginning of this year, Fo Guangshan sent the first Northern Qi Buddha back to mainland China. This time in Milan, his colleagues at the Museum of Mainland China Art Museum saw the Master from Fo Guangshan with joy and enthusiastically greeted him to take a picture together. In this atmosphere, the delegation composed of five art museums in Taiwan was obviously received professionally and friendly by the Beijing World Museum Museum Conference sponsored by Beijing.

Fo Guang Shan Buddha Memorial Hall is a platform for the collection and display of religious art. This five-year-old museum, on the one hand, needs to express the core spirit of Buddha and Master Nebula’s Buddhism through art on the one hand, and on the other hand, pursue the richness of art types and the quality of art. After establishing successful interactions and exchanges with their mainland counterparts, they also hope to further develop their cross-strait success in the world’s top art galleries and museums. This development is in the same line as the internationalization and localization of Fo Guangshan’s overseas development in recent years, that is, using art as a carrier to allow the Fo Guang Shan version of human Buddhism to pass the fine arts of Britain, Switzerland, and France. The museum, seen by people everywhere, felt that it was international. At the same time, in the subject matter, artistic language and style, works that fit the cultural characteristics of various countries are localized. On the other hand, the Buddha Memorial Hall also hopes to become a member of the network of international art museums and museums. Through the inter-library exchanges, it will increase the visibility of the Buddha Memorial Hall and attract audiences from all over the world to Fo Guang Shan.

Observing carefully, in fact, Fo Guangshan used the arts to promote law and the Italian minister and the mayor of Milan to use the art museum to promote local tourism. It is a reason, and they all use the power of art to generate appeal. The Taiwan Ministry of Culture sponsored the Taiwan booth in Milan. They also brought the Buddha Memorial Hall, the National Taiwan History Museum, which has hosted the Qinghua Yaji Collection Exhibition for Chinese antique collectors in Taiwan. Authoritative National Taiwan Museum. They hope that, as Italian politicians have said, they will also try to borrow the light of the international popularity of Taiwan’s art galleries and museums to further develop Taiwan’s international tourist resources under the condition that mainland tourists are expected to decrease. Director Chen Guanfu of the Taiwan Ministry of Culture said that Taiwan’s participation in this conference is to let the world’s counterparts see Taiwan’s cultural characteristics and Taiwan’s specialty.

Attend the UNESCO World Art Gallery and Museum Conference in Milan this time. Generally speaking, although the depth of capital influences the art platform and politics affect capital, the power of humanism and faith is still deeply rooted in art and culture.

Anthony Anchor, French International Radio host, interviews Chen Guanfu, director of the Department of Cultural Resources of the Ministry of Culture of Taiwan, Xie June, deputy representative in Taipei, Italy, Dr. Zhang Yuteng, director of the Museum of the Republic of China and director of the National Museum of History, and National Museum of Taiwan Mr. Chen Jimin, Master Manqian of Foguangshan Overseas Metropolitan Prison, Master Ruyuan and Deputy Master Yinyou of Foguangshan Buddha Memorial Hall.

Leave a Reply

Your email address will not be published. Required fields are marked *