In Shanghai, the historic Bund grabs much of the spotlight — the stretch of former banks and trading houses along the Huangpu River, built a century ago in a kaleidoscope of architectural styles, is a monument to the grandeur of another era. It can also be downright suffocating on weekends, with tourists jostling for selfie positions.

在上海，历史悠久的外滩吸引了人们最多的关注。一个世纪以前，这条黄浦江边的大街上修建了很多建筑风格各异的银行和交易所。如今，它成了展现那个辉煌时代的博物馆。在周末，它也是一个令人窒息的地方，游客们推来挤去争夺自拍的好地方。

For congestion-weary residents, another part of the riverfront now known as the West Bund has become a far more appealing place to spend the weekend. Here, a once-forlorn industrial area known for aircraft manufacturing has been transformed into a lush green corridor where Shanghainese come to ride bikes and skateboards, scale outdoor rock-climbing walls and, a rarity in this city, enjoy picnics on the grassy riverbank.

对于不喜欢拥挤的本地居民来说，如今被称为西岸的另一处滨江区成了更具吸引力的周末休闲地。西岸曾是废弃的工业区，以飞机制造闻名，现在被改造成绿树成荫的文化走廊，上海人喜欢来这里骑车，玩滑板，攀登户外攀岩墙，或者在绿草萋萋的河畔吃野餐——在这座城市，像这样适合吃野餐的地方十分少见。

And in the last two years, museums and galleries have also started popping up as part of the city’s plan to turn the West Bund into a world-class arts and culture hub, Shanghai’s answer to Museum Mile in New York or South Bank in London.

在过去两年里，上海为了把西岸打造成能与纽约的博物馆大道(Museum Mile)和伦敦的南岸中心(South Bank)相媲美的世界级艺术和文化中心，博物馆和画廊如雨后春笋般出现在西岸。

On one end of the waterfront area, two massive industrial buildings have been repurposed and transformed into the West Bund Art Center, site of a new annual art fair, and the Yuz Museum, focusing on contemporary works. On the other end is another institution exhibiting a mix of classical antiquities and modern Chinese art, the Long Museum West Bund. And coming soon is the star attraction: DreamWorks’ $2.5 billion Shanghai DreamCenter, the headquarters for the company’s new Chinese joint venture animation studio, Oriental DreamWorks, as well as a sprawling entertainment complex with performance venues, an IMAX theater, a Legoland Discovery Center, restaurants, shops and bars.

在这个河滨区的一端，两座巨大的工业建筑被改造成西岸艺术中心和余德耀美术馆(Yuz Museum)——前者是一个新的年度艺术博览会的所在地，后者主要展示当代艺术作品。另一端是展示古董和中国现代艺术作品的龙美术馆西岸馆。即将亮相的著名景点是上海梦中心，它是梦工厂(DreamWorks)斥资25亿美元建造的，也是这家公司新开的合资公司东方梦工厂(Oriental DreamWorks)的总部所在地。另外还将建设一个庞大的娱乐建筑群，包括表演场地、IMAX影院、乐高乐园发现中心(Legoland Discovery Center)、餐馆、商店和酒吧。

It’s an ambitious endeavor, but not for a city as driven as Shanghai. Under a national five-year plan to promote culture by building more museums, Shanghai has set out to transform itself from a flashy commercial center known mostly for its spectacular skyline and luxury shopping into a cultural heavyweight superior to its local rivals Beijing and Hong Kong and perhaps someday in the same league as the major art centers in the West.

这是个雄心勃勃的计划，但是对努力发展的上海来说不算什么。在国家建造更多博物馆以提升文化影响力的五年计划号召下，上海开始实现转变：从以壮丽的天际线和奢饰品购物闻名的光鲜商业中心转变为举足轻重的文化都市，不仅要超过本国的竞争对手北京和香港，或许有朝一日还可以与西方的主要艺术中心城市相提并论。

To achieve this, the city has gone on a museum building spree in recent years, resulting in a plethora of gorgeous, state-of-the-art institutions. They include the Shanghai Natural History Museum, designed by the American architects Perkins & Will to resemble the spiral shape of a nautilus shell, and the Power Station of Art, a Tate Modern-inspired, state-run contemporary art museum in a former power plant that has hosted the Shanghai Biennale and a show of the Chinese artist Cai Guo-Qiang’s gunpowder drawings and installation works.

为了实现这一目标，近些年，上海大兴土木，修建了大量华丽先进的博物馆。比如上海自然博物馆新馆，它是美国珀金斯威尔建筑设计事务所(Perkins & Will)设计的，模仿鹦鹉螺的螺旋形；另外还有上海当代艺术博物馆，它是受泰特现代美术馆(Tate Modern)启发而修建的国有当代艺术博物馆，馆址曾是一个发电厂，已经举办过上海双年展和中国艺术家蔡国强的火药画和装置作品展。

Across the river, two former pavilions from the 2010 World Expo have also been repurposed as museums — the oversize (even by Chinese standards) glossy-red former China Pavilion is the new home of the China Art Museum, while the old French Pavilion reopened late last year as the Shanghai 21st Century Minsheng Art Museum.

在河对岸，2010年世博会的两座展馆被改造为博物馆。超大（即使以中国标准看也是这样）的亮红色中国展馆成为中华艺术宫的新馆所在地，而法国展馆在去年年底作为上海二十一世纪民生美术馆重新开放。

It’s a far cry from just 15 years ago when a group of artists took over the abandoned warehouses of a former textile mill on Moganshan Road to establish an arts colony. “There weren’t many art museums in Shanghai. Nobody came to Shanghai for art,” said Lorenz Helbling, the Swiss founder of ShanghART, one of China’s oldest and most-respected galleries, which moved to Moganshan Road in the early 2000s. “This was for a long time the only place … but it’s a small place and this is a big city.”

这与15年前大不相同。那时，一群艺术家接管了莫干山路上一家纺织厂的废弃仓库，建起了一个艺术聚居区。“那时候上海没有太多艺术博物馆。没人来上海追求艺术，”香格纳画廊(ShanghART)的瑞士创始人何浦林(Lorenz Helbling)说。香格纳画廊是中国历史最久也最受尊敬的画廊之一，在本世纪初搬到莫干山路。“这里曾经在很长一段时间里是唯一的艺术区……但是这个地方很小，而这座城市很大。”

This could perhaps explain Shanghai’s desire to establish a more outsize arts district at West Bund, a costly and logistically complex endeavor that only the government could pull off. “Usually an art zone is started spontaneously by artists themselves,” said Zhou Tiehai, a well-known Chinese artist who was brought on to spearhead a new annual art fair in the cultural corridor. “But West Bund is totally from the government.”

这也许能解释为什么上海想在西岸建立一个更大的艺术区。这一耗资巨大、组织起来极为复杂的工程只有在政府的推动下才能完成。知名中国艺术家周铁海受邀在这个艺术走廊上带头筹办一个新的年度艺术展。他说：“一般来说，艺术区是艺术家自发形成的，但西岸完全是政府主导。”

Indeed, the project may never have gotten off the ground if the local government in Shanghai’s Xuhui district hadn’t persuaded Mr. Zhou and several major collectors to take a chance on this 1.5-mile stretch of waterfront that had been neglected since the closing of factories and the local airport years ago.

的确，如果上海徐汇区政府没有说服周铁海和几位著名收藏家在这片1.5英里长（约合2.4公里）的狭长河滨区域进行尝试，那么这个项目也许永远也不会起步。自从多年前那些工厂和一个地方机场被关闭后，这里一直被忽视。

When Mr. Zhou was first approached by the state-owned West Bund Development Group to organize an art fair in a 92,000-square-foot abandoned airplane factory in the early days of the project, however, he didn’t blanch at the enormity of the building — or at the task of cleaning it up.

在该项目开始之初，国有的上海西岸开发集团邀请周铁海在9.2万平方英尺（约合8547平方米）的废弃飞机制造厂里组织一场艺术展，他没有被这幢建筑的宏大和清理任务的艰巨所吓倒。

“I turned down a lot of art fairs, but once I saw this building, I knew I could make something special out of it,” said Mr. Zhou, who gained fame in China for his “Joe Camel” portraits and for not actually picking up a paintbrush himself (he delegates the actual art work to his staff).

周铁海说，“我拒绝了很多艺术展，但是一看到这个建筑，我就知道自己能在这里做出一番事业。”他因“骆驼系列”绘画在中国成名，但他本人从不作画（都是委托工作室的员工完成）。

It had potential but desperately needed refurbishing and a paint job. To bring in more light, two walls were torn down and replaced with glass. The back of the building was lopped off to build a road to the nearest metro station and a second-floor exhibition space was added. This kind of renovation could take years in most other cities, not to mention the time needed to organize a major art fair. “It only took us eight months,” Mr. Zhou said matter of factly, just in time for the inaugural West Bund Art & Design fair in September 2014.

那幢建筑很有潜力，但是急需翻修和粉刷。为了采光更好，两堵墙被拆掉，换成玻璃。楼的后部被缩短，修了一条路，通向最近的地铁站，还增加了二层展览空间。在大多数城市，这样的翻修需要多年时间才能完成，更别提还需要时间组织一个大型艺术展。周铁海不动声色地说，“我们只用了八个月时间。”刚好赶在2014年9月西岸艺术与设计博览会开幕前完成。

Around the same time, local leaders persuaded the Chinese-Indonesian tycoon Budi Tek to move in. A former poultry magnate, Mr. Tek had spent a considerable chunk of his fortune collecting Chinese art over the last decade and was looking to build his own museum in China, preferably in Shanghai, his wife’s hometown. “When I first committed to this place, there was no West Bund,” Mr. Tek said. It was still, he added, “a vision.” Soon after, he found a former airplane hangar and hired the Japanese architect Sou Fujimoto to renovate it.

几乎与此同时，当地政府领导说服华裔印度尼西亚大亨余德耀(Budi Tek)进驻这里。余德耀靠家禽业发家，在过去十年里花费巨资收藏中国艺术品。当时他正想在中国建立自己的博物馆，最好是在妻子的故乡上海。余德耀说，“一开始我看上这个地方时，它还不叫西岸”，当时只是“一个设想”。不久之后，他发现了一个废弃的飞机库，就聘请日本建筑师藤本壮介来改造它。

Mr. Tek’s Yuz Museum opened in May 2014 with a statement piece in its striking, glass-covered atrium: a live olive tree planted in a giant block of dried earth, a work by the Italian artist Maurizio Cattelan. Inside were more innovative installations, many owned by Mr. Tek, that could fit only inside a hangar, such as Xu Bing’s “Tobacco Project,” an assemblage of more than 600,000 cigarettes resembling a tiger skin rug; and “Freedom” by Sun Yuan and Peng Yu, a giant metal tank with a high-pressure hose inside that comes to life every hour, spraying the portholes with frightening jolts of water to the squeals of camera-snapping crowds.

2014年5月，余德耀美术馆开幕。令人震撼的玻璃中庭里有一个表达观点的作品：一颗活橄榄树，它种在一个巨大的干泥块里，创作者是意大利艺术家毛里齐奥·卡泰兰(Maurizio Cattelan)。美术馆里还有很多充满创意的展品，其中很多是余德耀的藏品，只有飞机库这样宽敞的地方才放得下，比如，徐冰的《烟草计划》——60多万根香烟组成一个虎皮毯的形状；孙原和彭禹的《自由》——一个巨大的金属水箱，里面有高压水管，每小时复活一次，用骇人的水柱喷射舷窗，引得观众们尖叫着争相拍照。

Few museums in China open with such a bang — and then maintain the momentum over the long haul. Yuz has managed to do so thus far, in part because Mr. Tek’s art-world connections have helped the museum deliver varied, quality programs.

在中国，很少有博物馆能在开放时引起这样的轰动，并在之后长期保持活力。到目前为止，余德耀美术馆一直做得很好，一个原因是余德耀在艺术界的关系网能帮助该博物馆呈现多样且高质量的项目。

Showing until Dec. 31 is one of Yuz’s latest acquisitions, Random International’s “Rain Room,” an interactive water installation that drew long lines when it was shown two years ago at the Museum of Modern Art in New York. Then, two blockbuster exhibitions will follow: the first China solo show of Alberto Giacometti’s sculptures in collaboration with the Giacometti Foundation (March 2016), and an exhibition in conjunction with the Picasso Museum in Paris (2017).

余德耀最新购买的装置作品是兰登国际(Random International)的《雨屋》。两年前，这个互动水装置作品在纽约的现代艺术博物馆(Museum of Modern Art)展出时，观众排起了长队。该作品将展览至12月31日。之后将推出两个重磅展览：与贾科梅蒂基金会(Giacometti Foundation)联合策划的中国首场阿尔贝托·贾科梅蒂(Alberto Giacometti)雕塑作品个人展（2016年3月）；以及与巴黎的毕加索博物馆(Picasso Museum)联合策划的展览（2017年）。

“I call myself a start-up museum,” Mr. Tek said. “To make a statement to the world that we are a serious museum, we want to do very exciting programs. … Museums are not for ants, birds — they’re for people to come, as many people as you can.”

“我把自己的博物馆称为初创博物馆，”余德耀说，“为了向世界宣告，我们是一家严肃的博物馆，我们想推出非常令人兴奋的项目……博物馆不是给蚂蚁或小鸟看的，而是为了吸引人们参观，越多越好。”

This philosophy is shared by the Chinese collectors Wang Wei and her husband, Liu Yiqian, a taxi-driver-turned-multimillionaire-financier, who have also made names for themselves with eye-catching art purchases in recent years. Last year, they shattered two international auction records in Hong Kong: In April, Mr. Liu paid $36 million for a Ming dynasty porcelain cup, nicknamed the chicken cup, which at the time was the most ever spent on Chinese porcelain at auction. Months later, he paid $45 million for a 600-year-old embroidered silk tapestry, a record at the time for any Chinese artwork sold at auction.

中国收藏家王薇和丈夫刘益谦也是这么想的。刘益谦是出租车司机出身，后来成为拥有亿万身家的投资家。近些年，他们购买艺术品时出手阔绰，引人注目，声名鹊起。去年，他们在香港打破了两项国际拍卖纪录：去年4月，刘益谦以3600万美元拍下一个名为“鸡缸杯”的明代瓷杯，成为当时拍卖会上出价最高的中国瓷器。几个月后，他又以4500万美元拍下一件有600年历史的刺绣唐卡，打破了当时中国艺术品的拍卖价格记录。

After building a sizable collection, Mr. Liu and his wife began looking for space to build museums in Shanghai to exhibit their purchases. Again, the Xuhui district government came through with a plum spot on the West Bund riverfront, a wharf where coal was unloaded from barges throughout much of the 20th century. A 1950s-era concrete bridge that was used to transport coal to train hoppers was preserved, and the Shanghai architecture firm Atelier Deshaus constructed a new museum around it with a similarly stark, concrete design.

在收藏了大量艺术品之后，刘益谦和妻子开始在上海寻找修建博物馆的地点，以展示他们的藏品。徐汇区政府再次在西岸找到一个极佳地点——一个在20世纪大部分时间里用来倾卸驳船运来的煤炭的码头。一座建于20世纪50年代的用来把煤炭运到火车运煤车上的水泥桥被保存下来。上海的大舍建筑设计事务所围绕水泥桥修建了一个新博物馆，也是一个质朴的水泥建筑。

The Long Museum West Bund also opened in early 2014, displaying many pieces from the couple’s nearly 1,900-piece personal collection. Earlier this year, the “chicken cup” was exhibited for a brief time in a darkened room, lit dramatically from above, with two guards posted at the doors.

龙美术馆西岸馆也在2014年初开幕，展示这对夫妇的近1900件个人藏品。今年年初，鸡缸杯在一个黑暗的房间里短暂展出了一段时间，灯光艺术化地从上方打在鸡缸杯上，门口有两名保安守卫。

Importing art can be extremely costly for collectors like Mr. Liu, who must pay a 17 percent value-added tax and, in some cases, 6 percent customs duty on works they bring into China. But in what is seen as yet another boost to Shanghai’s art scene, a new bonded art warehouse partly opened at West Bund last year, allowing collectors and museums to store art tax-free and take pieces out for up to six months at a time for exhibitions.

对刘益谦这样的收藏家来说，进口艺术品可能会非常昂贵，因为必须缴纳17%的增值税，有时还需要为带入中国的艺术品缴纳6%的关税。不过，为了振兴上海艺术界，一个新的保税艺术仓库去年在西岸部分开放，允许收藏家和博物馆免税存储艺术品，并可以为展览之用一次取走六个月。

The warehouse, called Le Freeport West Bund, has been a game-changer for Mr. Zhou’s West Bund Art & Design Fair, which has attracted a number of top international and Chinese galleries since its inception, including White Cube, Hauser & Wirth, Pace Gallery and Ota Fine Arts.

这个仓库被称作西岸自由港，对周铁海的西岸艺术与设计博览会来说意义重大。该博览会自诞生以来吸引了很多国际和中国顶级画廊，包括白立方画廊(White Cube)、豪泽和沃思画廊(Hauser & Wirth)、佩斯画廊(Pace Gallery)和大田画廊(Ota Fine Arts).

The fair now looks likely to emerge as a successor to the SH Contemporary, once Shanghai’s premier art fair, which has struggled mightily with mismanagement and financial losses since it began in 2007. At last year’s SH Contemporary, many works were held up at customs, leaving the walls in some booths bare for the start of the fair. This year’s fair was canceled.

现在看起来，该博览会会成为上海当代艺术博览会的后继者。后者是上海的第一个艺术展，从2007年诞生起就因管理不善和经济损失而艰难维持。去年的博览会刚开始时，很多作品被扣在海关，一些展位的墙上什么也没有。今年的博览会被取消了。

“I’ve spent the last number of years really searching around, actually in the whole region, for an appropriate kind of setting that we could properly show. And this really is by far and away, after Art Basel Hong Kong, the only one that fits the bill,” said Simon Kirby, the East Asia affiliate for the Victoria Miro gallery in London, which exhibited at the West Bund fair in September, its first time at a mainland art fair.

伦敦维多利亚·米罗画廊(Victoria Miro)东亚分部的西蒙·柯比(Simon Kirby)说，“过去几年，我真的在整个东亚四处寻找适合展览的场所。这里无疑是继香港巴塞尔艺术展之后唯一符合条件的地方，”今年9月，该画廊参加了西岸的博览会，这是它首次参加中国内地的艺术博览会。

With the district now taking off, more galleries are joining Yuz and Long on the waterfront. In May, the Hong Kong-born, Pulitzer Prize-winning photojournalist Liu Heung Shing opened the Shanghai Center of Photography (SCoP), the first museum in the city focusing solely on photography.

随着该地区慢慢兴旺起来，更多画廊来到这片河滨，加入余德耀美术馆和龙美术馆西岸馆的行列。今年5月，香港出生的普利策奖获奖摄影记者刘香成开设了上海摄影艺术中心(SCoP)，它是上海的第一座只关注摄影的博物馆。

Mr. Liu said opening a gallery was never in his plans. But he was drawn to West Bund by the prospect of bringing contemporary photography to a Chinese audience that hasn’t had much exposure to it. “I think the best way to really let China be part of this global conversation about photography is to show it,” he said.

刘香成说，开画廊从来都不在自己的计划里。但是他被西岸迷住了，他觉得在这里有可能把当代摄影带给并没有很多机会接触它的中国观众。他说，“我觉得，要想让中国融入全球摄影对话，最好的办法就是展示它。”

Construction also began earlier this year on the Shanghai DreamCenter, with the entire project scheduled for completion by late 2017. There will be elements of industrial reuse in the design here, as well, with a 3,000-seat, Broadway-style theater planned for a former concrete mixing building, to be called the Dream Dome. In a separate project, Qiao Zhibing, a Karaoke club owner and art collector, plans to convert five oil tanks into an art park with galleries and possibly performance spaces in the next several years.

今年年初，上海梦中心也投入建设，整个项目计划于2017年底完工。它的设计包含工业再利用元素，还要将一个前水泥搅拌库改造成有3000个座位的百老汇风格剧院，名叫梦想巨蛋。另外，在未来几年里，K歌房老板、艺术收藏家乔志兵计划把五个油罐改造成一个艺术公园，在里面开设画廊和表演场地。

ShanghART has also decided to open a new gallery next to the West Bund Art Center, designed to resemble stacked shipping containers. After a soft opening in September, the space was closed until the spring to finish construction on the upper floors and rooftop terrace.

香格纳画廊也决定在西岸艺术中心旁边开设一个新画廊，外形模仿堆放起来的船运集装箱。在9月份试营业之后，这里暂时关闭，到明年春天完成上部楼层和屋顶露台的建设后重新开放。

Mr. Helbling said launching a new space is a risk, but when he looks out at the barges floating by on the tree-lined river, he knows it’s one worth taking. “It’s quite a unique place,” he said. “You can actually walk, you can get out. You can go for the weekend, stay half a day, a day there. It’s not full of buildings. I think it could give Shanghai a different identity.”

何浦林说，开设一个新画廊有风险，但是看着驳船在两岸绿树成荫的河上漂流时，他相信这值得尝试。“它是个非常独特的地方，”他说，“你真的能在那里散步，能出去走走。你可以周末去那儿呆上一天半天的。那里没有拥挤的建筑。我觉得它能带给上海一个不同的身份。”

The ideal seasons to visit Shanghai are spring and fall when the temperatures are mild.

游览上海的最佳季节是春天和秋天，温度比较合适。

The West Bund art district is best seen by bike. Giant bike shops rent bicycles for 50 renminbi per day (about $8, at 6.15 renminbi to the dollar).

游览西岸的最佳方式是骑自行车。捷安特车行提供租车服务，每天50元人民币（以6.15元人民币兑换1美元计算，约合8美元）。

If biking isn’t your thing, the nearest subway stations are Middle Longhua Road on line 7 (closest to Long Museum), and Yunjin Road Station on line 11 (Yuz Museum).

如果你不喜欢骑车，最近的地铁站是7号线上的龙华中路站（离龙美术馆最近）和11号线上的云锦路站（临近余德耀美术馆）。

Long Museum, 3398 Longteng Avenue, thelongmuseum.org/en. Admission, 50 renminbi.

龙美术馆，龙腾大道3398号，thelongmuseum.org/en。门票：50元人民币。

Yuz Museum, 35 Fenggu Road, www.yuzmshanghai.org. Admission, 60 renminbi. (Rain Room exhibit, 150 renminbi)

余德耀美术馆，丰谷路35号，www.yuzmshanghai.org。门票：60元人民币（雨屋展览，150元人民币）。

Shanghai Center of Photography, 2555 Longteng Avenue. Admission, 40 renminbi.

上海摄影艺术中心，龙腾大道2555号。门票：40元人民币。

ShanghART West Bund, 2555 Longteng Avenue, Building 10, china.shanghartgallery.com. Admission is free.

香格纳画廊，龙腾大道2555号10号楼，china.shanghartgallery.com。免费参观。

West Bund Art Center, 2555 Longteng Avenue, westbundshanghai.com/index.php/English.

西岸艺术中心，龙腾大道2555号，westbundshanghai.com/index.php/English。

来自：VOA英语网 文章地址: http://www.tingvoa.com/html/20151124/An-Arts-Explosion-Takes-Shanghai.html