这是弗朗西斯•埃利斯在中国的第一次大型个人展览。

拥有建筑教育背景的弗朗西斯•埃利斯的艺术创作始于他 1980 年代

围绕着墨西哥城展开、后来辐射全球的一系列表演和行为。艺术家使

用录像、摄影、素描等方式记录对日常生活的微观介入，正如他本人

所言：“我们这个时代的人必须创造寓言。”在高度理性主义和媒介技

术统治的现代世界中，埃利斯从简的视觉叙事意味着他的作品允许人

们从表面意义到寓言象征等不同方式进行解读。

社会人类学者蒂姆•英戈尔德认为，手书、涂画和用脚丈量的旅途都

是在固体表面上留下的痕迹，这些线性移动代表了某种“生活的流动”。

相似的，弗朗西斯•埃利斯的作品探究人们与他们所生活的地理和社

会政治环境的关系，通过素描、行走、移动物件、搭建桥梁等行为含

蓄地建立起一种流动的生活。表演者的身体直接存在于行为—有时

是艺术家本人，有时也包括其他人。这些富有政治和诗学意味的表演

不仅深刻反映作品发生地的政治社会现实，亦能将观众强势引入艺术

家探讨问题的核心。

在经过资本主义急速转向和便捷技术改头换面的中国，这个名为《消耗》的展览提出与发展至上相反的价值。展览标题取法语单词 la dépense，译作“消耗”或“消费”，源于乔治•巴塔耶的精妙概念，即对人类活动而言，过度的“非生产性耗费”与“生产性消费”一样重要。这一观念恰好与埃利斯的艺术实践紧密贴合，譬如影像作品《龙卷风》（2000-2010 年）记录下艺术家手持相机，一次次莽撞而勇猛地跳入沙暴中心的动作；而《一个欺骗的故事，巴塔哥尼亚》中一辆汽车穿越海市蜃楼的景象使人无法不怀疑自己的眼睛；此外还有其他作品，如包含 111 张有关睡眠图像的《睡眠时间》（1996 年至今），和为一部不到二十秒长的动画创作的大量手绘稿—在手稿中，一个女人梳头、绑头发的细节动作都昭示着一个全新的状态，内容和意义在此生发于无效、无关轻重的非生产性行为和细节。同时，这些作品都宣称着从行动转向言说和话语的过渡。 策展人：长谷川祐子

走向《消耗》：艺术避免生效的能力

展 览 介 绍

勇于直面社会现状、对视觉感官存疑、重新思考体力劳动和时间消耗

的意义——这些都是弗朗西斯•埃利斯作品中契合中国现实的要旨。

本次展览将展出近 1300 件作品，其中一部分是首次展出。尽管埃利

斯的重要录像作品都能在艺术家的个人网站上看到，许多中国观众也

已通过网络了解他的作品，此次展出的绝大多数作品却必须亲临现

场才能感受到。其中包括逾千幅为动画绘制的素描原件、一百余件呈

现梦境回忆的绘画、因声音设计特殊而未上传网络的影像《龙卷风》

（2000-2010 年），还有取材于艺术家在上海和内蒙古旅行的绘画—

艺术家最早因 1997 年的作品《环行》访沪，近年来也多次访问上海。

在这里，观众会体验到被虚拟化世界威胁和遗忘的直面接触和身体经

验，提醒人们重新关注和认识体力劳动。

弗朗西斯•埃利斯的展览邀请观众亲临现场，通过亲身观看与作品发

生遭遇，从而开始讲述自己的故事。每位个体都是自己眼见之物的叙

述者，所有观众叙事又发展为无数新的线索，与艺术家释放的线索再

度形成关联。这才是一场弗朗西斯•埃利斯展览的要义。

Toward la dépense:Art’s Power to Avoid Being Effective

This is the first major solo exhibition by Francis Alÿs in China.

Originally trained as an architect, Alÿs began his artistic practice with a series of performative acts in and around Mexico City in the late 1980s, and subsequently throughout the world. The artist records these acts—subtle interventions in everyday life—using video, photography, and drawings. As he has said, “we of our times must create fables.” In a modern environment ruled by a high degree of rationalism and media technologies, the simplicity of Alÿs’s visual narratives allows for a variety of different interpretations, ranging from the literal to the allegorical.

According to social anthropologist Tim Ingold, hand-written words, drawings, and travels made by foot are all connected: as trails on a solid surface, their linear movements embody “the flow of life.” Similarly, Alÿs’s performances query the relationships between people and their geographical and sociopolitical environments, implicitly creating a flow of life through acts such as drawing, walking, moving objects, and building bridges. The direct presence of the body in these performances—sometimes just the artist’s own, at other times involving several others—and the simultaneously political and poetic nature of the actions highlight with great depth the sociopolitical situation of each respective location, all the while possessing the power to pull the viewer forcefully into the center of the issues raised by the artist.

In a China transformed by the fast-paced transition to capitalism and the efficiencies of technology, this exhibition, La dépense, in many ways posits values antithetical to such development. The title, which translates literally as “consumption,” is taken from Georges Bataille’s more nuanced notion that excessive “non-productive consumption” (dépense improductive) is just as important in human activity as productive consumption. This

concept maps onto Alÿs’s practice with ease, such as in Tornado (2000 – 2010), a film that captures the artist’s courageous and foolhardy action of leaping into the middle of a tornado with a camera in hand; or in A Story Of Deception (2003–2006), which presents a car driving towards a mirage, casting doubt on our sense of sight. Other works, like Le Temps du Sommeil (1996–present), consisting of 111 small painting depicting images from dreams, and a significant number of drawings done for an animation of less than 20 seconds depicting the subtle gestures of a woman smoothing her hair and then trying to tie it in a knot, suggest the “moving, transitioning” to a state where content and meaning emerge from inconsequential, ineffective, and unproductive actions and details. These works also suggest a shift from “doing” to “speaking/telling.”

Courageously grappling with the status quo; casting doubts on our visual sense; rethinking the meaning of the labor of manual work and the consumption of time—these are among the subtle messages from Alÿs’s work that can be applied to the current situation in China.

The works on display number around 1300, including some that are shown for the first time. While a number of Alÿs’s major video works can be viewed on the artist’s website, and many in China will have seen them this way, most of the work on display in this show can only be encountered here. This includes over 1000 original drawings for animations; more than 100 paintings depicting memories of dreams; Tornado, which due to the special nature of its acoustics, has not been uploaded to the website; and paintings reflecting his experiences of journeys to Shanghai—in 1997 for his project The Loop (1997) as well as recent visits to the city, and to inner Mongolia. Here you will find direct encounters and physical involvement of the sort that is gradually being threatened and Exhibition Introduction

forgotten by our digitized world, and suggestions that make us aware of manual work, or recognize it anew.

This exhibition is an invitation for spectators to generate their own stories, and begin to tell them, to relay them, through “encounters,” through seeing in person. Each individual becomes the narrator of what they have seen with their own eyes. These narratives in turn form countless strands that connect to the lines spun by the artist: this is what the experience of a Francis Alÿs exhibition is all about.

Yuko Hasegawa, curator

关于艺术家

弗朗西斯•埃利斯 1959 年生于比利时，接受过建筑师训练，1986 年

移居墨西哥城，并在墨西哥城生活工作至今。埃利斯以多种手段记录

的行为艺术作品闻名。一些行为简单如艺术家本人在城市中行走，另

一些行动则如同史诗事件，设置在极富张力的自然景观中，涉及数百

位参与者。除此之外，他的表现媒介还包括绘画、动画和素描，擅长

创造梦境般的超现实图像。埃利斯的行为通常幽默十足、转瞬即逝且

荒诞不经，却是高度精确的计划产物。他偏爱使用非传统方式，譬如

谣言和小道消息宣传自己的作品，意在使观众自行解读作品，而不必

受图像先入为主的影响。此类诗意特质赋予埃利斯处理都市、经济学、

迁移和边境等问题的独特角度。墨西哥和拉丁美洲的现代化进程是他

创作探索的重要命题。

About the artist

Francis Alÿs was born in Belgium in 1959 and trained as an architect before re-locating to Mexico City in 1986, where he has been based ever since. He is best known for his actions, which he documents in various ways. Some merely involve the artist walking through the city; others are epic-scale events set in dramatic landscapes, bringing together hundreds of participants. Alÿs also works with painting, animation, and drawing, with many of the images he creates having a dreamlike, surreal quality. His actions are frequently humorous, often transient, and can sometimes seem absurd, yet they are always concise and carefully planned. For a long time, Alÿs has been interested in spreading news about his work through unconventional means, such as rumor, allowing the audience to interpret his projects in unpredictable ways. Each of these poetic qualities contributes to Alÿs’s idiosyncratic way of approaching questions that have to do with urbanism, economics, migration, and borders. Throughout his career, he has particularly investigated the processes of modernization in Mexico and Latin America.

关于策展人

长谷川祐子自 2016 年起担任东京都现代美术馆总策展人、东京艺术

大学国际艺术创造研究科教授。她曾长期担任金泽 21 世纪当代美术

馆首席策展人及首位艺术总监（1999 年-2006 年）、东京都现代美术

馆首席策展人（2006 年-2016 年），同时出任日本犬岛“艺术之家”

项目艺术总监（2011 年至今）。

长谷川祐子曾任第 11 届沙迦双年展策展人（2013 年）、第 29 届圣

保罗双年展联合策展人（2010 年）和第 7 届伊斯坦布尔双年展艺术

总监（2001 年）。近期策展项目包括巴黎所罗门罗斯柴尔德公馆展

览《FUKAMI》（2018 年）、第七届莫斯科国际当代艺术双年展《云

⇄森林》（2017 年 9 月）、法国梅兹蓬皮杜中心举办的《全景日本：

当代创作新视角》（2017 年 10 月）、米兰 Pirelli HangarBicocca 当代

艺术中心菅木志雄个展《情境》（2016 年）。并担任 2013、2015 和

2017 年 HUGO BOSS 亚洲新锐艺术家大奖评委。

About the curator

Yuko Hasegawa is Artistic Director of the Museum of Contemporary Art, Tokyo (2016 – present) and Professor of the Graduate School of Global Arts, Tokyo University of the Arts (2016 – present). She has previously been Chief Curator and Founding Artistic Director of the 21st Century Museum of Contemporary Art, Kanazawa (1999 – 2006) and Chief Curator of the Museum of Contemporary Art, Tokyo (2006 – 2016). She is currently Artistic Director of Inujima Art House Project (2011 – present). She was Curator of the 11th Sharjah Biennial (2013), Co-Curator of the 29th São Paulo Biennial (2010), and Artistic Director of the 7th International Istanbul Biennial (2001).

Hasegawa’s recent projects include FUKAMI, a dive into Japanese aesthetics at Hôtel Salomon de Rothschild (2018), the 7th International Moscow Biennale of Contemporary Art: Clouds ⇄ Forests (2017), Japanorama: New Vision on Art since 1970 at Centre Pompidou Metz (2017), and Kishio Suga: Situations at Pirelli HangarBicocca, Milan (2016). She is currently a jury member of Hugo Boss Asia Art Award (2013, 2015, 2017).

在 2000 到 2010 年间，每年旱季结束时，弗朗西斯•埃利斯总会驱车

前往墨西哥城东南部的高原，探访变幻无常但却凶猛无比的龙卷风，

这些风暴携卷着火山灰和当地农民焚烧稻秆产生的灰烬。艺术家将自

己比喻为“追逐浪花的冲浪者”，但比起温暖和煦的阳光和沙滩，这

里的体验更接近海明威的《老人与海》。埃利斯和风暴的双向遭遇相

当猛烈，他手持一台摄像机，一次次向暴风眼发起冲击，进入漏斗云

的核心，摄像机镜头往往会一片漆黑，只能听到呼啸的风声和这位堂

吉诃德的喘息声。龙卷风不会在预定时间到来，也不是一个听从摄影

师指挥的演员。在这些刻意创造的相遇中，艺术家采取“等待、追踪、

追逐、衡量”等方式对待对手，反之亦然。但正如他在笔记中记录下，

企图用这些词语来描述场景的尝试都被一质疑、修改、抽象化、否

认和解除。这种英雄主义的荒谬行动既可以被视为对混沌的宣战，或

者是灾难中的诗意姿态。

《龙卷风》 2F

作品介绍

《龙卷风》

2000-2010 年

录像，杜比 5.1 声道，彩色

40 分

Every year from 2000 to 2010, at the end of the dry season, Francis Alÿs drove to the high plains southeast of Mexico City in order to visit the fickle but always fierce tornadoes that carry with them great amounts of volcanic dust and ash from local farmers’ burning crops. “It’s like a surfer catching a wave,” as the artist has described; only this experience bears more in common with Hemingway’s The Old Man and the Sea, than that of warm sun and beach. The bilateral meetings between Alÿs and cyclones are much more violent than peaceful, with the artist repeatedly running towards the tornadoes, video camera in hand, breaking into the center of each condensation funnel. The picture captured by the camera lens often blacks out, leaving only the roar of the wind and the gasping of the quixotic protagonist. As a tornado is never something one meets by appointment, nor a docile actor who listens to the cameraman, during these intentional encounters, the artist would, by his own description, “wait/follow/chase/flirt/measure” his opponent, or vice versa. In the end, most attempts to apply words to the scenario are questioned, as the artist’s notes reveal. This absurd act can be viewed as both a heroic, but futile combat with chaos, as well as a poetic gesture.

Tornado

About artist works

Tornado2000 – 2010Single channel video projection, 39 min, color, 5.1 surround soundIn collaboration with Julien Devaux and Rafael OrtegaCourtesy the Artist and David Zwirner

2F

艺术家与龙卷风为期十年的持续对抗—或许可以被称为形成密切关

系的时刻—通过 15 个小时左右的影像记录，艺术家进一步凝练出

了时长 40 分钟的作品。此外还有大量笔记和草图、精心策划的作战

计划、严谨的研究以及各种灾难、崩溃和恢复计划。在埃利斯的作品

中，观念与行为通常齐头并进—前者常常被随手草草记录下来，再

由行为呈现观念。

作为同一个研究项目的作品之一，绘画《诗学的崩塌》（2000-2010 年）

将龙卷风描绘为一个双螺旋结构，两个螺旋交织并在底部靠近。蒙尘

般的灰色使整个画面氛围更接近现实主义。

另外相对抽象的作品是一组类似胶卷负片 / 正片的布面油画，题为《外

爆 / 内爆》（2000-2010 年），尺寸均为 20.8 x 14.4 x 2 厘米。在《外爆》

粉灰色的背景上，密集而富有质感的笔触指向中心的黑点，并从黑点

出发，以辐射对称的方式形成圆盘。与此同时，橙色的渐变形成一系

列同心圆，从中心向外部逐渐加深颜色，形成四个环形。作品标题《外

爆》以全大写的灰白字体书写在画面上端，系列名称《在某种情况下》

则出现在底部。如果说《外爆》是这组绘画作品中的负片，《内爆》

则是构图完全相同的正片，其背景为灰白色，字体为灰色，橙色的渐

变环以红色原点为中心，颜色向外逐渐变浅。两幅画都可视为俯瞰或

仰视龙卷风的描绘，或从暴风中心向上看的视角。观众也可以将这两

件作品视作从平稳的中心观察湍流的隐喻。

《诗学的崩塌》

《外爆》

《内爆》

作品介绍

《外爆 / 内爆》

2000-2010 年

木框布面油彩

每件：20.8 x 14.4 厘米

3F

These ten years of recurring confrontation with the torandos, or

what can perhaps also be described as “bonding moments,” are

documented in the 15 or so hours of video footage that crystalize

into a 40-minute work. Presented alongside the video are notes

and sketches of careful battle plans, rigorous studies, depictions

of catastrophe and collapse, as well as depictions of recovery.

In Alÿs’s work, concept and action often go hand in hand, the

former typically visualized as jottings, but more importantly

internalized within the latter.

Among all of the works in the project, the painting Collapse of

Poetics (2000-2010), depicting the tornado as a double-helix

structure whose two sides become more closely intertwined

as they spiral downwards, rather than condensing in a funnel,

exhibits the most realistic approach, emphasized by the

painting’s dusty gray tint.

A less figurative example is the diptych Explosion/Implosion

(2000-2010), a pair of negative/positive paintings on canvas that

each measure 19.1 by 14.3 centimeters. In Explosion, textural

brushstrokes are symmetrically arrayed around a centrally place

black dot to form a disk. The orange hued gradient forms a

series of four concentric circles that increase in tonal intensity

as they move from the center outwards, set against a pinkish-

grey background. The title is written at the top of the canvas

in Spanish, whereas the name of the series, En una situación

dada (in a given situation), is written at the bottom, both in off-

white capital letters. Conversely, Implosion a similar presents

composition, however with the colors waning in intensity as

they move away from the center. Both paintings could be seen

as depictions of a tornado from a vertical perspective—from

Collapse of poeticsExplosionImplosion

About artist works

right above or just below, or perhaps the point of view of looking

upwards from the center of the cyclone. They could also be

considered as observations of turbulence from the peaceful

center of the tornado’s eye.

Explosion/Implosion2000-2010Oli on canvas on wood in two partsEach: 20.8 x 14.4 cm

3F

《做 / 不做》（2008 年）是一部循环播放的影像。艺术家在纸张的规

定位置依次写下“U”、“UN”、“UND”、“UNDO”、“NDO”、“DO”

这几个单词，然后来回翻动纸张，形成一个粗糙的翻页动画。在这个

过程中，词语作为语言的意义被解构，成为扁平、抽象的几何形式。

这些单词同时被书写和绘制，它们可能是一些语源学上相近、日常使

用中出现频率极高的常见词汇。另外，未正确分辨所看到的语料时，

它们便只是通过形式联系在一起的字母组合，甚至仅仅是单独纸张上

的独立图像，通过翻页的过程按时间顺序排列。在翻页时盯着同一个

位置，有别于传统书籍从左至右的阅读会产生类似催眠的效果，不仅

使翻页这一动作变得空洞，也使观看行为变得徒劳无用，如果观众试

图破译词语的引用或指代内容，结果更是如此。

《做 / 不做》

《做 / 不做》

2008 年

录像，彩色

1 分 48 秒作品介绍

3F

Do-Undo (2008) is another looped film in which the artistwrites “U-UN-UND-UNDO- NDO” and “DO” sequentially, one word per piece of paper, each at a prescribed location, flicking the paper back and forth so as to make a rudimentary flip book animation. Through this action, he deconstructs the linguistic and signifying connotations of both words, flattening them into abstracted geometrical forms while simultaneously enacting them. Alternatively, these compositions might be viewed as mere assemblages of alphabets linked only by form. They might even be seen as independent images strung together chronologically only via the act of page turning. The effect of staring at the same location as the pages turn, rather than reading from left to right as in a conventional book, could be either hypnotic or extremely banal; not only the gesture of flipping but the action of watching the video itself.

Do-Undo

About artist works

这件最初创作于 1999 年的作品呈现了一双旧正装皮鞋，鞋带被系在

一起，鞋里放着一双袜筒被拧在一起的羊毛袜。鞋是埃利斯反复使

用、代表劳动和身体经验的视觉主题，它同样出现在 1994 年的行为

《有磁力的鞋》、1996-97 年的手绘动画《波莱罗（擦鞋布鲁斯）》

和 2008 年的计划《遇河之前莫过桥》中。

《不可预知的乡愁》

作品介绍

Do-Undo2008Single channel video, color, sound, 1:48 min

《不可预知的乡愁》

1999 年

皮鞋、羊毛袜

各种尺寸

3F

This work, made in 1999, presents a pair of worn out formal shoes tied together by their laces, with a woolen sock extending from each that are knotted together at their opening. Shoes have been a recurring motif in Alÿs’s work, in particular as a signifier of human labor and physical experience, such as his 1994 performance Zapatos Magnéticos (Magnetic Shoes), the drawn animation series Bolero (Shoe Shine Blues) (1996–2007), and the 2008 project Don’t Cross the Bridge Before You Get to the River.

L'imprévoyance de la nostalgie

About artist works

3F

L'imprévoyance de la nostalgie1999Two (2) Churches English shoesand two (2) socksOverall dimensions vary with installation

一个面包被放置在一个装满空气的塑料袋上，随着时间流逝，空气从

袋中漏出，面包也会逐渐腐烂。这一过程对肉眼观察来说固然过于细

微，但物理和生物化学变化的累积最终会体现为可见的外观变化，使

得观众永远无法使其中的时间差与当下正在发生的反应同步。

《面包》

《无题》

2018 年

面包、塑料袋、空气

各种尺寸作品介绍

3F

A plastic bag is filled with air and a bread roll is placed on top. As time passes, the air slowly leaks out and the bread begins to decay. While this process is too subtle for the human eye to detect, the transformation will eventually manifest as an accumulation of molecular and physical change over time. This process of decomposition produces a time lag, which the viewer is never able to fully comprehend in present moment.

Bread

一百个尺寸为 61 x 47.8 x 0.6 cm 的橡胶垫，制作时间介于 2003 和

2010 年之间。虽然整齐排放在地板上，它们的功能似乎与任何宜家

销售的防滑地毯大同小异。不过 18 种不同醒目颜色的组合与家具商

精心打造的舒适感相悖，而每个橡胶垫上由 6 个部分组成的图像呈现

为一根手指压在嘴唇上，做出“嘘”的手势，邀请每个人保持安静沉

默。这些橡胶垫的组合貌似随机，却达到了高度色彩平衡。这一平铺

在地面上的装置对观众形成情绪上的压迫感，因为它占据了巨大的地

面空间，而垂直向上的空间却空无一物，使观众感到无所适从。

置身于这些抽象的嘘声手势中，观众可以将自己视作诸多要求保持沉

默的人中一员，也可以将自己视作被要求保持安静的人。在日常生活

中，沉默是如此普遍和根本的状态，它既可以是被动的，也可以是自

愿的。人们可能出于自身或他人的意愿保持安静，沉默可能是个人或

集体行为，或为了一个特定时刻、空间、事件及其他任何事物保持安静。

要求他人保持安静也是同理。沉默貌似自然，却是一种经过选择的行

为，往往需要反复练习和提醒，譬如幼儿园老师的督促和博物馆里禁

止喧哗的标识。艺术家标志性的反复行为与本次展览上的其他项目密

不可分，而橡胶垫呈现的多样性也与重复的概念共存于这件作品之中。

《无声》

About artist works

untitled2018Bread, plastic bag, and airDimensions variable

《无声》

2003-2010 年

橡胶垫

每个 61 x 47.8 x 0.6 厘米，100 个

3F

The 100 identically sized rubber mats that comprise this installation were made between the years 2003 and 2010. Placed on the floor, they seem to function like the non-slip rugs sold in any IKEA store; however, their striking color combinations call attention to their content and arrangement. Each mat features the image of a finger being pressed to lips, a universal signal for silence. In total, the installation is visually overwhelming, taking up a huge space and forcing viewers to physically walk across it, registering both presence and a sense of nothingness simultaneously.

Situating oneself among all the abstract figures, in response to the "hush" gesture, the audience might identify oneself either as one of those asking for silence, or one of those being asked to be silent. Silence is common and fundamental in everyday life and can therefore be both passive and voluntary. Being silent can be either for oneself or for somebody else—individual or collective—for the sake of a moment in time, a specific space, an event, or anything else. Silence is an action, a choice, that often requires practice and reminding, such as a kindergarten teacher’s exhortation, or a signboard in a museum. One could say that the plurality of the mats coincides with the notion of repetition, which resonates with the artist’s signature mode of repetitive performance, and is featured in many other works in this exhibition.

Silencio

About artist works

3F

Silencio2003 – 2010One hundred (100) rubber matsEach: 61 x 47.8 cm

这部电影 2003-06 年拍摄于巴塔哥尼亚，可以算作另一个项目的副产

品。艺术家最初计划拍摄一种类似鸵鸟的鸟类，叫做鶆䴈。传说巴塔

哥尼亚原住民特维尔切人捕捉鶆䴈的方式是驱使族人跟在它们后面行

走，一走就是几个星期，直到鶆䴈因为精疲力竭而放弃或瘫倒。埃利

斯被这个故事中的行进概念所吸引。但最终在尘土飞扬的道路尽头出

现的却是无边无际、闪闪发光的海市蜃楼，它总是在行走者面前，然

而道路却越撤越远，以循环录像的形式展现在观众面前。

艺术家认为，摄像机对海市蜃楼的追逐正是“向前逃离”这一观念的

最佳写照。“没有观众 / 观察者的移动，海市蜃楼只不过是一个了无

生气的光斑，一种自然景观中的光学振动。我们向前移动时将它唤醒，

我们向它靠近的脚步触发了它的生命”。对一些人来说，这样的追逐

可能充满诗意或英雄气概；另一些人则认为这种行为更加自负与徒劳。

有趣的是，如果我们将追逐海市蜃楼与中国神话中的夸父逐日，或日

本作家村上春树小说《国境以南太阳以西》描述的所谓“西伯利亚臆

想症”并置考虑，可能会产生关于这个问题的新视角—在村上的书

中，一位生活规律正常的农民有一天突然抛下犁头，开始向西行走，

走向一块位于太阳西边的土地。

《一个欺骗的故事，巴塔哥尼亚》

This film was shot in the Patagonia region of Argentina between 2003 and 2006, almost as the by-product of another project where the artist had originally planned to film a type of bird called ñandu. What initially attracted Alÿs was the story that the Tehuelche people used to hunt the ostrich-like birds by corraling the entire tribe to walk after the animal for weeks in order to physically exhaust it, but ultimately it was the endlessly shimmering mirages that appeared at the end of the dusty roads he encountered there, always retreating just ahead of view, that formed the material of the work.

Considering the camera’s pursuit of mirages “the perfect image of fuite en avant (forward flight),” the artist contends that “without the movement of the viewer/observer, the mirage would be nothing more than an inert stain, an optical vibration in the landscape. It is our advance that awakens it, our progression towards it that triggers its life.” For some, the pursuit could seem poetic or heroic, while to others might view such actions as mere conceit. Intriguingly, new perspectives on such questions might emerge if we juxtapose Alÿs’s mirage chasing with the race against the sun in the story of Kua Fu Chasing the Sun in Chinese mythology, or with the so-called hysteria siberiana described in Japanese writer Haruki Murakami’s novel South of the Border, West of the Sun, in which a farmer living a mundane life all alone suddenly tosses the plow aside and begins to walk towards the land that lies west of the sun.

A Story of Deception

作品介绍

《一个欺骗的故事，巴塔哥尼亚》

2003-2006 年

16 毫米胶片放映

4 分 20 秒，循环播放

A Story of Deception2003 – 200616mm film, color, silent4’20”, loopIn collaboration with Olivier Debroise and Rafael Ortega

3F

About artist works

这件装置包括一部时长 16 秒 20 分的手绘动画和逾千幅素描。作品的

原标题是《出埃及记 3：14》，原先的歌词和声音部分灵感来自《圣

经》出埃及记第 3 章第 14 节的一句话：“我是自有永有的”。后来动

画中的歌词和声音的部分被去除，作品标题也被削减为《出埃及记》。

这件作品是艺术家多次实践的主题的另一种变体，即做与不做，或不

做即是做。在《实践的悖论》（1997 年）的作品中也可见相似手法，

艺术家在影像中将一块冰块推过墨西哥城的条条街道，直到冰块完全

融化。在作品中，一个女人正将她的长发如绳子般打结，脸部则避开

观众。打结和解结的简单动作则是基于“盲目相信行动的必要性”。

大量手绘素描悬挂在交错的金属丝上，涉及巨大的人工和时间成本，

突出了付出与结果、劳动与工作间的极度不均衡。另一方面，由于画

中人只是在自然地进行她的日常生活，她从过去、现在到未来的连续

行为和存在呼应了“我是自有永有的”箴言。艺术家为这一图像绘制

的各种草稿和草图在同一展厅的壁架上展出。从绘制手法的细微变化，

到姿态的反复研究修改，以及用作参考素材的毕加索女性绘画，这些

展品体现了艺术家单一图像背后的精心创作过程。

《出埃及记》 4F

作品介绍

《出埃及记》

2013-2018 年

录像

16 秒 20 分

纸上铅笔

每张 26.5x32 厘米，约 1000 张

This installation includes a 16-second hand-drawn animation and one thousand or so drawings. The work was originally titled Exodus 3:14, after the biblical line: “I am that I am,” that inspired it. The work is yet another variation on the recurring theme in the artist’s practice of doing and undoing, or doing without doing. Another example of employing this method is seen in video works, such as Paradox of Praxis 1 (Sometimes Doing Something Leads to Nothing) (1997), in which the artist pushes a block of ice through the streets of Mexico City until it completely melted. Exodus depicts a woman whose face is averted from the viewer while she braids her mid-length hair. The simple act of doing and undoing is seemingly based on what the artist views as a “blind faith in the need for the action to happen.”

In addition, a large number of hand drawings that are hung from traversing wires represent significant physical commitment and time on the part of the artist, highlighting the massive disproportions between effort and result, as well as labor and output. The final part of the work features a hidden, small dark space, where the viewer encounters again the woman braiding her hair in the 16-second animation, in which the black and white of the pencil drawings are reversed. This continuous, repetitive, and banal act seems to resonate with the phrase “I am that I am.” In addition, drawings from the various studies that have culminated in this one image are on display, featuring hands in various gestures, along with details of a woman combing her hair in a painting by Picasso. These studies and reference materials demonstrate the meticulous and possibly repetitive process undertaken by the artist in order to produce a single image.

Exodus

About artist works

Exodus2014 – 2018Installation with single channel video, sound, 00:20 min820 animation drawings, 26.5 x 32 cm , pencil on paper; 257 studies for exodus, dimension variable,mixed media on tracing paper

4F

1997 年 6 月 1 日，为了从墨西哥蒂华纳到达美国圣地亚哥而不经过

美墨边境，埃利斯选择了一条方向相反的旅途，先前往墨西哥城，再

经过南美、大洋洲和亚洲的 12 个国家和 14 个城市，在整个环太平洋

地区绕了一大圈，终于在一个月后的 7 月 5 日到达圣地亚哥。埃利斯

尽可能地在途经城市四处游荡，像以往一样继续他的行走，亲身探索

每个城市的独特肌理。

在旅行期间，艺术家不仅写下了他对这些地方的印象，还记录了他从

当地氛围、居民和个人精神、身体状况中获得的灵感。例如他在悉尼

发明了一个叫做“指数旅游”的新游戏，即在城市的主要旅游景点，

闯入过路游客拍照留念的镜头里。这样一来，他的形象就能以指数规

模传播到世界其他地方。他的步伐有时因为回忆一个词语卡壳而放慢

速度；在另一个场景中，艺术家坐在一家麦当劳里，因为他认为“衡

量一份芝士汉堡配中可乐和薯条的当地价格”是“估算该国平均生活

成本的最快方式”。

在这场 20 年前的旅行中，埃利斯也曾短暂路过上海。他认为上海是

个相当有异域风情的地方，而且“街头看不到狗”。语言障碍导致他

在逗留期间失去自我意识、崩溃、成为纯粹当下，从而发生了猛烈的

“变异”。大约 20 年后，我们通过标示着旅行线路的地图，一个可

充气的地球仪，一些关于曼谷、仰光和上海的画作，旅行日记，数千

张摞成一叠的明信片等元素组成的装置重溯这段旅途。在六幅木板油

画中（其中一张关于曼谷，两张关于仰光，三张关于上海），艺术家

描绘了每个城市公共空间的日常景象，如街道、餐厅、茶馆和社区公

共区域。不同于传统的肖像和风景画，这些画作中的人物往往偏离中

心，也不采用常规透视法，而像是行走中眨眼间瞬间闪过的景象，强

烈传达了艺术家自身在旅途中的动感。画作多采用绿色和褐色，观感

上显得模棱两可，却又简洁翔实，仿佛一位细致观察家的旅行笔记。

《环行》

作品介绍 《环行》

1997 年

行为

5F

On June 1st, 1997, in order to go from Tijuana, Mexico, to San Diego, California, USA—cities that are only about 30 kilometers apart—without crossing the Mexico/USA border, Alÿs decided to travel in the opposite direction, starting his journey via Mexico City and along the Pacific Rim. After touring South America, Oceania, and Asia, he finally arrived in San Diego on July 5th, having passed through 14 cities in 12 countries over the course of a little more than one month. Upon his arrival in each city, the artist would wander around as much as possible, continuing his practice of walking as a means of contemplation and physically exploring the fabric of the city.

During his trip, he wrote down not only his impressions of each place, but the inspirations he drew from the atmosphere and people, along with his own mental and physical state. For example, in Sydney he invented a game called “Exponential Tourism,” intentionally getting captured in the frames of other people’s photos taken at the city’s major tourist attractions so that his own image would be circulated around the rest of the world exponentially. In yet another scenario, he sat in a McDonald’s, figuring that the quickest way to estimate the average cost of living in the country would be by measuring “the local price of a cheeseburger with medium coke and french fries.”

During this trip, Alÿs also stopped in Shanghai. He found the city exotic, with “hardly any dogs around.” He found the experience of the language barrier severely “mutating,” which he cites as having led him on a path to consciousness, allowing him to become fully present. Through this exhibition, some 20 years later, we get to in part re-visit Alÿs’s trip via the ephemera from that journey including a map onto which the route he took is marked, an inflatable globe, paintings made in Bangkok, Yangon, and Shanghai, a diary, a pile of a thousand or so postcards, and other elements that in

The Loop

About artist works

5F

The Loop 1997

total comprise the installation. In the six paintings on wood—one featuring Bangkok, two Yangon, and three Shanghai)—the artist depicts ordinary scenes of public space in each city including the streets, restaurants, tea houses, and community public areas. Differing from the classic compositions of portraiture and landscape painting, the figures in these works are often positioned off-center and viewed from unusual perspectives, more akin to images caught in the blink of an eye while walking. As such, these paintings convey a strong sense of the artist’s body in motion within the city. The paintings, mostly green and brown in tone, contain a sense of ambiguity and are concise and informative, as if functioning as the travel notes of a meticulous observer.

2017 年 11 月，艺术家前往内蒙古最北端，并在旅途中进行素描写生，

后来成为绘画。延续 20 年前《环行》（1997 年）中视觉旅行笔记的

风格，埃利斯仍然是海拉尔城市公共空间的可靠观察者。在其中一幅

画上，他以类似初学者的练习笔迹写下了一些英文单词，并像他以前

在仰光和曼谷的画作一样写下了这些词的蒙语翻译。

《内蒙古系列》 5F

作品介绍

In November 2017, Alÿs traveled to the northernmost part of Inner Mongolia, making sketches along the way that were later turned into paintings. Continuing with the style of visual travel note-taking that began with his project The Loop 20 years ago, he maintains his role as an honest observer of public space—this time focusing on the city of Hailar. On the surface of one of the paintings, English words are written, scrawled in rudimentary handwriting, as though in an exercise book for beginners. Similar to the Yangon and Bangkok paintings, the words are also translated and inscribed in Mongolian.

Nei Mongol Paintings

《海拉尔》

2017 年

木面油画

13 x 206 厘米

Hailar 2017Oil on canvas on wood13 x 18 cm About artist works

这 一 多 联 画 系 列 包 括 111 幅 大 小 相 近 的 彩 色 木 板 油 画， 每 幅 约

15.5x11.5 厘米。这些画作不仅尺寸相同，在构图逻辑和颜色运用等

形式配备上亦十分统一。每件画作都应用朴实的威尼斯红色作为底

色，高光绿色色调的圆形孔径及浅蓝色的具象形体或抽象线条（有时

运用拼贴）则以分散的方式呈现。孔中露出的底色似乎描绘了月桂绿

色的草原与暗色橄榄绿的天空的相互渐变，人体、动物或物件则在这

一背景上显得十分突出。这些形象所进行的行为从奇特到日常，不一

而足。其中一些图像指涉了艺术家曾实现过的行为作品，例如与狗的

互动（《外国人》2013 年），而其他图像则过于异想天开，不可能

在日常生活中体验，比如一个男人和骰子漂浮在水中的场景。

在转移到油画表面之前，艺术家首先在描图纸上勾勒出这些元素。作

品表面最后还会经过打蜡和抛光，用橡皮图章盖上日期以及系列的共

同标题：Le Temps du Sommeil 即《睡眠时间》。从 1996 年至今，

这些作品逐一积累起来，作为艺术家表演行为的图解档案，以及尚未

实现的观念的视觉清单。在某个时间点上，艺术家可能会重新审视和

绘制其中一幅画，并在原始画作旁边用橡皮图章盖上另一个“完成日

期”。此类重复实践凸显了艺术作品物件性与行为过程之间模糊的界

限，这也是埃利斯创作的核心。

《睡眠时间》 5F

作品介绍

《睡眠时间》

1996 年至今

木面油彩、蜡、彩色铅笔和拼贴

每张约 15.5x11.5 厘米，111 张

This polyptych includes 111 almost identically sized paintings on wood, each measuring approximately 11.5 by 15.5 centimeters. The artist deploys a uniform format for each of the works, including the homogeneous application of color and logic of composition, in addition to size. Each panel features an earthy Venetian red background, on which illuminated apertures in green, together with figurative drawings or abstract lines in light blue, and sometimes collage elements, are presented in a scattered manner. The green gradient featured in the apertures seems intended to depict laurel-green grasslands and a darkened olive-green sky fading into one another, while the human figures, animals and/or objects stand in the foreground. The actions that these figures are engaged in range from the curious to the mundane, some referring to actions the artist himself has previously been involved in, such as interacting with dogs (Gringo, 2013), while others are too vagarious to have been experienced in daily life, like the scene where a man is seen drifting in water.

Each of the compositions’ elements is initially sketched onto tracing paper before being transferred to the painting surface where they are waxed and buffed, and then stamped with the date and the title, Le Temps du Sommeil, which translates as “the time of sleep.” These pieces, dating from 1996 to today, serve as an illustrated archive of the artist’s past performative actions, as well as a visual inventory of yet-to-be-realized ideas. At a certain point, the artist might revisit a painting in order to repaint it, leaving another “stamp of completion” next to the original one. As he has stated, his practice for these works is “Paint an image, record the image, paint another image over it, to leave only the sign.” This method of continually reworking his own compositions highlights the blurring of the boundary between the art object and the process or action that produced it, which lies at the heart of Alÿs’s body of work.

Le Temps du Sommeil

Le Temps du Sommeil1996 to presentOil, encaustic, crayon and collage on wood in 111 partsEach: 11.5 x 15.5 cmAbout artist works

讲座

地点 : 上海外滩美术馆

上海黄浦区虎丘路 20 号

游读：艺术家李明

讲者：李明，艺术家

语言：中文

行者无疆——行为艺术在中国

讲者：温普林，艺术评论家

徐天天，上海外滩美术

馆策展主管

语言：中文

消耗、奢华与生存本身

讲者：杨威，第二军医大学人

文社科部副教授

语言：中文

文明责任与文化选择——以敖

鲁古雅鄂温克的生态移民为例

讲者：谢元媛，中国农业大学

社会学系副教授

徐天天，上海外滩美术

馆策展主管

语言：中文

RAM 校园计划

行走中的诗意碎片

发起人：杨雾，复旦诗社第

四十六任社长

周乐天，复旦诗社第

四十七任社长

潘旻，上海外滩美术馆

教育专员

地点：上海外滩美术馆及周边

语言：中文

由复旦诗社协办

动画工作坊：让故事在纸间动

起来！

导师：沈乾石，上海外滩美术

馆展览经理

地点：世界外国语小学

语言：中文

Talk

Venue: Rockbund Art

Museum

20 Huqiu Road, Huangpu

District, Shanghai

Walk & Talk: Artist Li Ming

Speaker: LI Ming, Artist

Language: Chinese

Travelers with No

Boundaries – Performance

Art in China

Speakers: WEN Pulin, Art

Critic

XU Tiantian, Curator

Manager of RAM

Language: Chinese

Dépense, Luxe and Existence

Itself

Speaker: YANG Wei,

Associate Professor,

Department of Humanities

and Social Sciences, Second

Military Medical University

Language: Chinese

The Responsibility of

Civilization and the Choice

of Culture: A Case Study

of Aoluguya Ewenki's

Ecological Migration

Speakers: XIE Yuanyuan,

Associate Professor,

Department of Sociology,

China Agricultural University

XU Tiantian, Curator

Manager of RAM

Language: Chinese

RAM@Campus

Walking, Writing

Organizer: YANG Wu, 46th

President of Fudan Poets

Society

ZHOU Letian, 47th President

of Fudan Poets Society

PAN Min, Education

Specialist of Rockbund Art

Museum

Venue: Rockbund Art

Museum and Surrounding

Areas

Language: Chinese

In Collaboration with Fudan

Poets Society

Animation Workshop:

Animate the Story on Your

Notebook!

Mentor: SHEN Qianshi,

Exhibition Manager of

Rockbund Art Museum

Venue: World Foreign

Language Primary School

Language: Chinese

2018.11.17 14:00-15:30

2018.12.15 19:00-20:30

2019.1.4 19:00-20:30

2019.1.25 19:00-20:30

17th Nov 2018

14:00-15:30

15th Dec 2018

19:00-20:30

4th Jan 2019

19:00-20:30

25th Jan 2019 19:00-20:30

2018.12.8 13:00

2018.12.13 10:00

8th Dec 201813:00

13th Dec 2018 10:00

“弗朗西斯·埃利斯：消耗”公共教育项目 Francis Alÿs: La Dépense Public Program

Preview / Curators’ Talk:

Francis Alÿs: La Dépense

Speakers: Yuko Hasegawa,

Curator of Francis Alÿs:

La dépenseCuauhtémoc

Medina, Chief Curator of the

12th Shanghai Biennale

Venue: Rockbund Art

Museum (20 Huqiu Road,

Huangpu District, Shanghai)

Language: English with

Chinese interpretation

Annual Party! Plus Special

Guide Tour!!

Guided Tour by Liu Yingjiu,

Deputy Director of RAM

Qian Jiahua, Artist

Venue: Rockbund Art

Museum (20 Huqiu Road,

Huangpu District, Shanghai)

Language: Chinese

Spot Francis Alÿs in the 12th

Shanghai Biennale

Speaker: Shi Hantao, Chief

Coordinator of the 12th

Shanghai Biennial

Venue: Power Station of Art

(200 Huayuangang Road,

Huangpu District, Shanghai)

Language: Chinese

Studio Open Day: Meet the

Designers of RAM

Speakers: Wang Jiayi,

Designer

Du Yun, Designer

Venue: RAM Studio (27

Huqiu Road, Huangpu

District, Shanghai)

Language: Chinese

Lectures: Latino Film Poets

in “Action”

Fernando Ezequiel Solanas:

El Viaje

Alexandre Jodorowsky:

Poesía sin fin

Speaker: Lu Zhiyu, Film Critic

Venue: Rockbund Art

Museum (20 Huqiu Road,

Huangpu District, Shanghai)

Language: Chinese

展览预览 | 策展人对谈：

弗朗西斯 • 埃利斯：“消耗”

讲者：长谷川祐子，弗朗西斯•

埃利斯：“消耗”策展人

夸特莫克 • 梅迪纳，上海

双年展主策展人

地点：上海外滩美术馆，上海

市黄浦区虎丘路 20 号

语言：英文，中文翻译

会员年度派对！

加赠专场导览！！

特别导览：刘迎九，上海外滩

美术馆副馆长

钱佳华，艺术家

地点：上海外滩美术馆，上海

市黄浦区虎丘路 20 号

语言：中文

去 2018 年上海双年展寻找弗朗

西斯 • 埃利斯

讲者：施瀚涛，2018 年上海双

年展项目总协调

地点：上海当代艺术博物馆 ,

上海市黄浦区花园港路

200 号

语言：中文

办公室开放日：来见见我们的

设计师

讲者：王佳怡，设计师

杜耘，设计师

地点：上海外滩美术馆工作室，

上海市黄浦区虎丘路

27 号

语言：中文

特别企划：“行动”中的拉美

电影诗人

谈谈索拉纳斯《旅行》

谈谈尤杜洛夫斯基《诗无尽头》

讲者：陆支羽，影评人

地点：上海外滩美术馆，上海

市黄浦区虎丘路 20 号

语言：中文

“弗朗西斯·埃利斯：消耗”会员活动 Francis Alÿs: La Dépense Member Events

2018.11.810:00-11:30

2018.12.119:30-21:30

2018.12.1511:00-12:30

2019.1.514:00-16:00

2019.2.1519:00

2019.2.1619:00

8th Nov 2018

10:00-11:30

1st Dec 2018

19:30-21:30

15th Dec 2018 11:00-12:30

5th Jan 2019 14:00-16:00

15th Feb 2019

19:00

16th Feb 2019 19:00

Join RAM Membership

NOW! Experience RAM in the

Best Way!

Scan the QR code to join us.

For more information,

Please call: 021-

63216256 / 33109985-

7102 Email: member@

rockbundartmuseum.org

本页专属活动仅向 RAM 会员开放。即刻扫描二维码加入 RAM 会员，解锁重磅会员活动！如需了解更多入会及续费资讯请拨打会员专线：021-63216256 / 33109985-7102电子邮件：member@rockbundartmuseum.org

定期导览

每周日 14:30，语言：中文

活动免费，需购买展览门票。

集合地点 : 美术馆一楼大厅，无需预约。

团体导览

本馆于展览活动期间提供团体预约导览服务，以

三十人为限。

如需预约团体导览服务，请务必于 5 个工作日前

发送邮件至

info@rockbundartmuseum.org 进行预约。

语音导览器

本展提供语音导览器供观众免费借用（需支付押

金 200 元）。

请至美术馆前台办理。

微信语音导览

只要你是“上海外滩美术馆 RAM”的微信好友，

即可在菜单栏“展览相关”中找到“语音导览”，

一键轻松收听，更可查看作品图片及详细文字说

明。

还没有添加我们官方微信的朋友，欢迎扫描二维

码或搜索“上海外滩美术馆”加入我们！

Sunday Tour

Every Sunday throughout the exhibition

period.

Free for visitors with a valid ticket.

Language: Chinese

Meeting point: ground floor

Time: 14:30

(no reservation required)

Group Tour

The group guided tour (under 30 people) is

held throughout the exhibition period.

Please send your reservation 5 working days

before your visit to

info@rockbundartmuseum.org.

Audio Guide

The audio guide handsets are available for

visitors (free of charge, a deposit of RMB

200 is required). To borrow a handset, please

check at the reception.

WeChat Tour

If you have followed “RAM” on WeChat,

find “Audio Guide” under the navigation

menu “About the Exhibition”, images and a

description of the art work will be displayed

on your phone.

Haven't followed us yet?

Simply follow “RAM” by scanning the QR code

or by searching our WeChat account “ram_

ram”!

中文

中文

中文

中文

英文（馆长导览）

中文

英文

中文

中文

中文（馆长导览）

中文

中文

沈乾石

葛永佳

潘旻

李叶

拉瑞斯·弗洛乔

王再再

曾明俊

谢丰嵘

于璐嘉

刘迎九

张玉嵋

徐天天

11.10

11.24

12.01

12.08

12.15

12.22

01.05

01.12

01.19

01.26

02.02

02.23

Chinese

Chinese

Chinese

Chinese

English (Director Guided Tour)

Chinese

English

Chinese

Chinese

Chinese (Director Guided Tour)

Chinese

Chinese

SHEN Qianshi

GE Yongjia

PAN Min

Vivian LI

Larys FROGIER

Stella WANG

Billy TANG

Ramen HSIEH

YU Lujia

LIU Yingjiu

ZHANG Yumei

XU Tiantian

RAM 团队导览

RAM 团队将在展览期间为观众提供免费导览

时间 : 14:30，日期见后

活动免费，需购买展览门票。

集合地点 : 美术馆一楼大厅，无需预约。

RAM Team Guided Tours

The curatorial team of RAM will offer free

guided tours for visitors throughout the

exhibition period. Tours are held at14:30

and are free for visitors with a valid ticket.

How to join: meet at the museum lobby on

the ground floor (no reservation required).

2018

2019

上海外滩美术馆·会员计划 2018

个人会员 300 元 / 年

展览：

• 免费参观全年的艺术展览（可携带一名同伴，

享受优惠价购票）

• 特邀参加上海外滩美术馆展览开幕酒会

• 免费参观与 RAM 合作的展览、博览会及其他艺

文活动

活动：

• 免费参加由展览的策展人、艺术家、馆长的专

场导览

• 美术馆会员专属活动（每年至少 4 次活动，包

括参观艺术家工作室、艺术工作坊、美术馆高端

茶会等）

• 优先预约并参与全年的公共教育活动

• 免费或优惠参加美术馆所举办的各种收费活动

（包括现场表演、工作坊、高端讲谈等）

其他：

• 无需押金，免费使用语音导览器

• 优先使用会员专属衣物寄存服务

• 在 RAM SHOP 购买美术馆自有商品享有 9 折优惠

• 在 RAM CAFÉ 消费享有 8 折优惠

• 洛克 . 外滩源内指定商户消费优惠

• 定期收到会员专属的内部资讯

家庭会员 600 元 / 年（包含两位成人及两名儿童）

享有个人会员的全部优惠（最多两位成人）

展览：

• 免费参观全年的艺术展览（可携带一名同伴，

享受优惠价购票）

• 特邀参加上海外滩美术馆每档新展览开幕酒会

• 免费参观与 RAM 合作的展览、博览会及其他艺

文活动

活动：

• 免费参加由展览的策展人、艺术家、馆长的专

场导览

• 美术馆会员专属活动（每年至少 4 次活动，包

括参观艺术家工作室、艺术工作坊、美术馆高端

茶会等）

• 优先预约并参与全年的公共教育活动

• 免费或优惠参加美术馆所举办的各种收费活动

（包括现场表演、工作坊、高端讲谈等）

其他：

• 无需押金，免费使用语音导览器

• 优先使用会员专属衣物寄存服务

• 在 RAM SHOP 购买美术馆自有商品享有 9 折优惠

• 在 RAM CAFÉ 消费享有 8 折优惠

• 洛克 . 外滩源内指定商户消费优惠

• 定期收到会员专属的内部资讯

家庭专属：

• 免费参与青少项目中的家庭日、亲子工作坊等

付费活动（以活动发布信息及参加办法为准）

• 生日当月的 15 岁以下小朋友可至美术馆领取生

日礼品一份

RAM MEMBERSHIP 2018

INDIVIDUAL MEMBERSHIP RMB 300 PER YEAR

Exhibitions:• Free unlimited admission to RAM exhibitions throughout the year.• Special invitations to exhibition openings and receptions for the exhibitions at RAM.• Free admission to exhibitions, events at art fairs, or cultural activities organized by RAM partners.• A discounted ticket for one friend who accompanies you.

Education Events:• Free entry to exhibitions guided tours—given by artists, curators, or the museum director.• Exclusive entry to RAM members’ program (at least 4 events every year, including studio visits, artist workshops, museum tea talks).• Priority given for reserved seating for public programs held at RAM all year round.• Free or discounted access for all paid programs at RAM (including workshops, live performances, high-profile lectures, among others).

Other Benefits:•Free use of the audio guide, with no deposit required.•Free use of lockers and exclusive cloakroom service.•10% off for RAM SHOP store-branded goods.•20% off at the RAM CAFE.•Enjoy exclusive discounts or complimentary offers at designated shops and restaurants in the ROCKBUND area (with monthly updates through our RAM Members’ Newsletter).•Receive exclusive booklets.

FAMILY MEMBERSHIPRMB 600 PER YEARIncluding all benefits of individual members (for up to 2 adults).

Exhibitions:• Free unlimited admission to RAM exhibitions throughout the year.• Special invitations to exhibition openings and receptions for the exhibitions at RAM.• Free admission to exhibitions, events at art fairs, or cultural activities organized by RAM partners.• A discounted ticket for one friend who accompanies you.

Education and Events:•Free entry to exhibitions guided tours—given by artists, curators, or the museum director.•Exclusive entry to RAM members’ programs (at least 4 events every year, including studio visits, artist workshops, museum tea talks).•Priority given for reserved seating for public programs held at RAM all year round.•Free or discounted access for all paid programs at RAM (including workshops, live performances, high-profile lectures, among others).

Other Benefits:•Free use of the audio guide, with no deposit required.•Free use of lockers and exclusive cloakroom service.•10% off for RAM SHOP store-branded goods.•20% off at the RAM CAFE.•Enjoy exclusive discounts or complimentary offers at designated shops and restaurants in the ROCKBUND area (with monthly updates through our RAM Members’ Newsletter).•Receive exclusive booklets.

Additional Benefits:•Free admission on Family Day and to family workshops (see special notices for these specific events).•One birthday gift for children under 15 for visiting the museum in the same month of their birthday.

会员年度派对！加赠专场导览！！

2018 年 12 月 1 日 （周六） 19:30-21:30特别导览：刘迎九，上海外滩美术馆副馆长 钱佳华，艺术家地点：上海外滩美术馆，上海市黄浦区虎丘路 20 号语言：中文

Annual Party! Plus Special Guide Tour!!

1st Dec 2018 Saturday 19:30-21:30Guided Tour by LIU Yingjiu, Deputy Director of RAM QIAN Jiahua, ArtistVenue: Rockbund Art Museum (20 Huqiu Road, Huangpu District, Shanghai)Language: Chinese