"被信任"的價值, 遠超過我的想像

從Joe寧願選擇他弟弟當工程師這件事情開始, 我體認到"信任" 可以做成一筆大生意, 也可以是回絕一筆生意的原因。

Quotebook

真正熱愛一樣事物，就去享受它所帶給你的美好感受，然後和他人分享，而不是去與他人競爭，因為能夠奪取這份快樂的人，只有你自己而已，同樣地，能夠讓這份快樂持續下去的人，也只有你自己。

原文網址: 《靈魂衝浪手》失去了手臂，卻學會用心去擁抱更多人 | 　火行者的電影部落格　 | firewalker | NOWnews 部落格 http://blog.nownews.com/article.php?bid=156&tid=1545224#ixzz2bGZcv93D

Eight Surprising Rules That Will Get You The Job

http://www.forbes.com/sites/susanadams/2013/05/30/eight-surprising-rules-that-will-get-you-the-job/?utm_source=followingweekly&utm_medium=email&utm_campaign=20130603&ss=change-agents

1. Stop looking for a job. 
The only time you should send a résumé is when you’ve established there is a real job at a company for which you’re being considered, or a headhunter is trying to fill an open position and requests one. Instead of presenting yourself as an out-of-work job seeker, come across as a resource. Let people know you can solve problems. Approach your job hunt as a search for quality relationships. 

2. Stop working on your résumé.
Your résumé should be clean, clear, simple and no more than two pages. It makes sense to update it when you’ve made a major accomplishment, like increasing sales by 75% in your department or in journalism, writing a cover story. But you should be able to make those fixes in a few minutes. Do keep your LinkedIn LNKD -1.44% profile up to date.

3. Hold your elevator speech.
“After 20 seconds, no one can remember your elevator speech,” contends Ellermeyer. Instead, he recommends telling a story about yourself that runs for 60-90 seconds. “People remember stories,” he says. “Nobody wants to hear facts and figures.” You should come up with a short, possibly humorous moniker for yourself. Ellermeyer calls himself a “connector.” One of his clients branded himself “rent-a-CFO,” and then told a story about how he had gone from project to project over the last year, and how he had found success at each job. Other possible short-hand titles: IT Problem-Solver, Deal Finder, Resource Solution-Finder.

4. Don’t talk about yourself. 
Instead of leading a conversation with the latest news about your life, says Ellermeyer, “find out how you can serve other people.” Be inquisitive about others and when you learn about them, try to suggest a book or article they may want to read or an event they might want to attend. Many people think that networking requires that they list their accomplishments. But it can be much more effective to ask others about their interests and needs.

5. Don’t go to networking events.
Instead try hosting them yourself. Form your own breakfast group of eight or ten people. In other words, create your own network with people you hand-select. Though it’s tempting to sit at your computer and meet virtually, make the effort to get together face-to-face.

6. Take breaks.
7. Don’t say you’re unemployed.

Instead of presenting yourself as an out-of-work executive, hand over a business card. Remember, you’re not out of work. You’re just between jobs.

8. Avoid headhunters.
Headhunters only handle roughly 10% of the available jobs. Also, they’re working for companies and not for you. After you’ve made sure your résumé is in their database, move on.

寫作技巧

http://sethgodin.typepad.com/seths_blog/2013/05/writing-tip-say-it-backwards.html?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+typepad%2Fsethsmainblog+%28Seth%27s+Blog%29

Writing tip: say it backwards

If your writing feels like nothing but easily defensible aphorisms, as if you're saying things that are obvious, it's entirely possible that no one is going to eagerly keep reading. Your real estate brochure or the ad copy you've written--if it's merely posturing or bragging, better to not say it at all. We already know you think you did something great.
Consider the alternative. Say the opposite. That your condo isn't right for everyone. That your software might be overpriced. That this new model car is in fact quite difficult to use.
And then tell us why. We'd love to know how you're going to wriggle out of that. And along the way, if your story is a good one, we might even give it a try.

Quote from Linuxs founder Torvalds

http://upstart.bizjournals.com/entrepreneurs/hot-shots/2012/06/19/linuxs-inventor-gently-mocks.html?page=all

I loved going to a startup,” said Torvalds. “If any of you ever get the chance—startups that are early in their startup career, when they’re still doing the early technical stuff, and they really do not see where it’s going, and everyone is really gung-ho—are an absolutely wonderful work experience.”

“And when the IPO was getting closer, it changed to not being so much about the technology, and all of a sudden you had to worry about customers and money and IPO issues, and it wasn’t fun anymore,

Medium.com

跟小全聊到 https://medium.com/

看似簡單的平台, 他說這個平台超前台灣15年

超前的原因有:

1. Sophisticated contributor
2. Business Model: the page view in the US is $0.3 while that in Taiwan is $0.03.
    Page view in Taiwan is too low to motivate corporations to build up this kind of platform.
3. Industry Maturity: Internet business maturity.

Quote from Frederick Buechner

You can kiss your family and friends good-bye and put miles between you, but at the same time you carry them with you in your heart, your mind, your stomach, because you do not just live in a world but a world lives in you. - Frederick Buechner

減少投入反而解決了問題

當事情沒有產生預期的成果時, 人們出於本能, 往往會投入更多資源去解決問題, 包括更多的人力, 時間和金錢。然而這麼做最終只會讓問題變得更嚴重。正確的作法是"精簡"。

from reWork 工作大解放

Line-blurred.

今天在研究Monocle的business strategy時, 看到了這個job-posting:

這個世界的邊界正在模糊: 以前,你可以工作一陣子,然後去學校進修,上個workshop, 然後再回來工作。現在想要進修, 不一定要去學校, 而是你可以到你想要去的企業裡作part-time, 當作是進修, 貢獻你所有的, 學別的企業的組織文化與做事方式。這是21世紀學習的方式。

Freelance Studio Manager
— London

We are looking for experienced studio managers for shift work over the Christmas and New Year period.

Successful applicants must be Myriad software-literate and capable of dealing with live studio desks, ISDN and TBUs.

You will be manning a live desk, dealing with audio content for air and maintaining a consistent and continuous playout.

You must be flexible and competent with audio-editing software. Knowledge of Adobe Audition and Pro Tools is an advantage.

Tuesday Morning Inspiration

Creativity is not just an opportunity. It's a Responsibility.

An Ode to Creative Work by Behance from Behance on Vimeo.

Bikes and The City: morning escape

Bikes and The City: morning escape: I received a message a few days ago with the info and link to this video, which features long time online buddy and bicycle enthusiast Manny...

Curious about Home

http://www.metropolismag.com/pov/20120307/curious-about%e2%80%a6-home#.T2lv5FWke8c.gmail Curious About… Home By Paul Bennett Wednesday, March 7, 2012 8:00 am It hit me really hard about a year ago when I walked out of Changi Airport in Singapore: that particular combination of cloying orchids, dried fish, durian, drains and that peculiar acrid-yet-sweet smell of wet tarmac after the monsoon rain, all carried on a humid tropical breeze right up my nostrils to that most primal and limbic part of our brain: the olfactory system. The part of the body that is said to hold memory. This memory was overwhelming. I was home. I grew up in Singapore, a classic Army Brat, enjoying as many did in the sixties the halcyon days of equatorial colonialism, my parents spending their evenings playing canasta and drinking jugs of martinis, my mother swimming in an expat all-girls synchronized swimming troupe during the day. I spent my own days with hair tinted green from the heavily chlorinated pool, foraging for strange insects in the monsoon drains that surrounded our house. We left when I was in my early teens, to go back “home” to where my father grew up, in chilly Newcastle in the north of England, a culture shock to say the least. Now here I was, having the most visceral and vivid sense memory almost thirty years later, smelling the wet monsoon drains as if I had never left. My knees buckled slightly as I walked to the taxi. In my current job I travel relentlessly, priding myself as many of us today do on being nomadic, on having airmiles stacked up on every airline, on knowing the best udon restaurant to go to in Tokyo, the coolest bar in Copenhagen, the best hairdresser in New York, the quaintest small hotel in Paris. I am a walking Monocle magazine. Lest I come across as spoiled, I realize how privileged a job this is and am very grateful, believe me. However, it does come at a price: practical issues such as a doctor that knows my history or getting my copious bills forwarded to somewhere that I can open them is a challenge to say the least; I spend an inordinate amount of time convincing myself that it is worth the sacrifice. I am very lucky in that my partner, a photographer, travels with me most of the time and we get to have wonderful adventures together. But something has started to nag. What and where is my home? One of my closest work colleagues, Dana Cho, is Korean, and she turned me onto the construct of Third Culture Kids. We had a conversation about it with a group of designers at work and no surprise, many of them, like me, consider themselves nomadic, excited by pluralistic points of view, of being inspired by a multiplicity of things, drinking in cultures and reveling in the weird and the wonderful. We were all, it seems, TCK’s. Wikipedia describes TCK’s well: “A Third Culture Kid (TCK) is a person who has spent a significant part of their developmental years outside the parents’ culture. The TCK frequently builds relationships to all of the cultures, while not having full ownership in any. Although elements from each culture may be assimilated into the TCK’s life experience, the sense of belonging is in relationship to others of similar background.” I became obsessed with this topic, and started devouring media that related to it. Columnist Anne-Sophie Bolon nails it firmly on the head for me in a piece she penned for The New York Times: “To many sons and daughters of business executives, diplomats, military officials and missionaries, a passport is little more than a travel document, for it does not necessarily denote where “home” is.” What Of It? To be clear: I have a house, with stuff that we own in it, that we go to for Christmas. It’s in Montauk, at the windy and quiet far end of Long Island. We’ve been going there for twenty years and we come back after our elliptical global forays and usually say: “We’re home.” But then after a few weeks the itchiness kicks in and we’re off again. I am starting to think that home is less about where you live and more about nodes on a personal life journey, the same way I and my fellow TCK’s view our passports as interesting travel documents and less as signifiers of our cultural identity. Better said: perhaps home is not a place but a process; if we have reconfigured the idea of the traditional family structure in favor of today’s ‘modern’ family - an assemblage of friends, colleagues, communities, siblings, some virtual, some actual, is the ‘modern’ concept of home the same - a process of dropping bookmark pins in a mental map and creating our own scrapbook, assembling a group of smells, places, things, memories, some real, some tangible, some completely imaginary? I wonder if home today is more akin to an ever-evolving digital scrapbook like Pinterest and less like a locked-in-stone leather-bound family album. As I travel around the world I keep in touch with many people, see and do many things in many places, collect memories, some decidedly analog (I obsessively buy vinyl music wherever I go, for example) some virtual (nothing beats Instagram for romanticizing places and memories, making them instantly vintage and nostalgic) and assemble my own aggregate collage of home-ness. This sounds unbelievably corny, but I am starting to think that I am carrying home around with me, in my brain, on my back and on my laptop, and that ultimately home is a process that belongs inside me. Having a house is not, for me, a home; having a happy life is. And inhaling Singapore’s air brings me as close to home as I can get, remembering as I do the smell of monsoon-wet concrete and the clink of martinis being stirred. I Am Curious: What and Where is ‘home’ for you? Paul Bennett is Managing Partner and Chief Creative Officer of IDEO. Among his many contributions to the firm’s evolution into a global practice he’s worked on consumer experience design; helping to establish IDEO’s presence in China; and co-founding the New York office. Paul is based in Shanghai and is focused on bringing to market commercially viable, socially significant new businesses and consumer products, services, and experiences. He is responsible for company-wide content excellence, and he actively develops ideas (and publishes articles) related to the field of human-centered, design-led innovation. Follow the link for Paul’s other Curiosity Chronicles.

Quotes from New Year's Eve

To reflect the year that has gone by. To remember both our triumphs and our missteps, our promises made and broken. The times we opened ourselves up to great adventures, or closed ourselves down for fear of getting hurt. Because that's what new year is all about: getting another chance. A chance to forgive. To do better, to give more, to do more, to love more. And to stop worrying about "what if" and start embracing what will be. Sometimes it feels like there are so many things in this world we cannot control: Earthquakes, floods, reality shows. But it's important to remember the things that we can, like forgiveness, second chances, fresh starts. Because the one thing that turns the world from a lonely place to a beautiful place is LOVE. Love in any of its forms. Love gives us HOPE. Hope for the new year.

artntheapple: German Expressionism: The Graphic Impulse exhibiti...

artntheapple: German Expressionism: The Graphic Impulse exhibiti...: "(Images coming soon!!) 'German Expressionism:  The Graphic Impulse' exhibition just opened this weekend at MOMA and it is an absolut..."

凌晨3點 • 悟

原來,這趟美國行
需要被拯救的,不是我的愛情, 而是我的恐懼
恐懼再一次出乎意料地臉歪,然後只有70%治癒的機率
恐懼再一次那種 無能為力感
恐懼因為恐懼 帶來的負面情緒, 猜忌懷疑,憤世嫉俗
推開了一個個曾經愛我的人

因為恐懼 我畏畏縮縮 我怕這怕那
限制式不僅框在身上 更框在心上
意志不知道哪兒破了洞 心有餘而力不足

原來 黑洞是恐懼
恐懼 不自覺地讓我帶上有色眼鏡 看到的都是人性的黑暗面
更加讓我躲進保鮮膜裡 對這個世界懷疑 保持距離

原來,What matters most to me? 不是健康
而是健康背後 限制式框架下
如何在是(臉歪)與不是(臉歪)之間
調整意志面對恐懼的態度
不擔心恐懼尚未發生的未來
活在當下,活出人生的最大值

相信everything gonna be alright的天真的傻勁
相信這個世界如泡泡般美好的畫面
在黑洞之外.....

John Baldessari

Baldessari將一系列現成的靜止影象並置, 其中有許多應該是電影影像
藉此創造出一組謎樣的意義
每個各別影像都是某個未經解釋的大敘事中的一瞥,
而這些彼此無關的景框結合起來則創造出一組新的故事

此外, 每個影像也都暗示著一組可能的故事正在景框之外發生
也就是發生在"銀幕之外"
這件影像拼貼創造了一個多層次空間和許多可能的潛在敘述

Using multiple images to construct a new sense of order. Whilst many of the images are mundane and meaningless on their own, by carefully placing them together, Baldessari is able to construct narratives, emphasise a specific viewpoint or emotion, and encourage different ways of looking at the world.

Baldessari began his career in the 1960s as a painter, then in 1970 took the rather theatrical and Duchampian step of cremating all his paintings (he folded some of the ashes into cookie dough and displayed the baked goods at New York’s Museum of Modern Art as part of the 1970 survey “Information”). From that time on, he was known for a certain fluidity and hybridity in his art, working at the intersection of photography and painting, and of image and word. “He always loved text as a kind of image,” explains the poet David Antin, an early friend of Baldessari’s. “He would use a line of text in such an isolated way, as if it were a painting.”

Often the artist’s combinations of photographs and text creates a sense of narrative as well, if only by magnifying the most subtle or uneventful of events. The Pencil Story, 1972–73, for example, juxtaposes two shots of a pencil—the first dull, the second sharp. Beneath the pair, a caption reads: “I had this old pencil on the dashboard of my car for a long time. Every time I saw it, I felt uncomfortable, since its point was so dull and dirty. I always intended to sharpen it and finally couldn’t bear it any longer and did sharpen it. I’m not sure, but I think this has something to do with art.”

Baldessari’s engagement with the film and television industry was fuelled by his proximity to Hollywood, as well as his realisation that film and video helped him to synthesise and understand his own thoughts. Movies reinforced the importance of time and sequence that he had begun to explore in his photographs. The film industry also yielded a ready-made repertoire of images and gestures to choose from. Not only did Baldessari play with the idea of a script, he also appropriated the format of storyboards, displaying images in sequence to explore different scenarios and suggest multiple narratives.

In The Overlap Series, Baldessari continues to construct relationships between disparate images. He combines two unrelated photographs - a melodramatic film still and a snapshot of a mundane urban vista - using a minimal amount of brushwork to continue elements of one image into the other.

In recent years, Baldessari’s appropriation and manipulation of found images has become increasingly sophisticated, with the subtle use of recessed and raised surfaces, adding further depth and interest to the picture plane.

In the Goya Series Baldessari returns to the relationship between language and image, pairing photographs of banal objects with non-specific, yet evocative words derived from titles used by Spanish artist Francisco de Goya. In isolation both image and text are meaningless, but when combined they generate the possibility of multiple readings.

The Prima Facie series tests whether a word can accurately describe a facial expression. Applying words to film stills and therefore to acted emotions, Baldessari sought to show that while we may think we understand something at first glance, it becomes more complicated when we try to prove it. Baldessari’s investigations follow through several states until the facial expression is replaced with a square of commercial paint, with the manufacturer's name for the colour inscribed beneath it.

The face and facial features are recurring subjects for Baldessari. In the series Noses & Ears Etc. the whole face is coloured and flattened, except for the most bizarre appendages, a nose or an ear and sometimes both. While humorous, there is an element of aggression in these works. Faces are disfigured, titles mention fists rather than hands, and blood trickles from an isolated nose on a green head-shape.

Chuck Close (July 5, 1940)

攝影的出現有助於解放繪畫風格, 讓它從寫實往抽象邁進
但到了20世紀末, 藝術界興起了照像寫實主義風格
許多畫家自覺地以"照片般的"繪畫風格進行創作 (photorealist)

Close had been known for his skillful brushwork as a graduate student at Yale University. As he explained in a 2009 interview with the Cleveland Ohio Plain Dealer, he made a choice in 1967 to make art hard for himself and force a personal artistic breakthrough by abandoning the paintbrush. "I threw away my tools", Close said. "I chose to do things I had no facility with. The choice not to do something is in a funny way more positive than the choice to do something. If you impose a limit to not do something you've done before, it will push you to where you've never gone before."

Chuck Close often worked from photographic stills to create paintings that appeared to be photographs. The everyday nature of the subject matter of the paintings likewise worked to secure the painting as a realist object.

Best known for the monumental heads he has painted in thousands of tiny airbrush bursts, thumbprints, or looping multi-color brushstrokes, Close has developed a formal analysis and methodological reconfiguration of the human face that have radically changed the definition of modern portraiture

34/7
3: Expression
4: Stability
7: Trust
All digits have an influence — but the
bolded issue is key to your hidden calling.
Those on the 34/7 or 43/7 life path are here to work through issues of trust, patience, and emotional expression and to have faith in the spiritual process operating within their life, establishing security by finding practical ways to contribute to others. Both these life paths present the opportunity of blending the incisive mind of 7s with the down-to-earth practicality of mature 4s and the sensitivity and expressiveness of 3s. Since our life purpose always offers some tests and hurdles, 34/7s and 43/7s may feel their energies in conflict, polarized, and pulling in different directions: While 7 tends to pull them “upward,” into the higher mind or in some cases into metaphysical interests and practices, 4 tends to pull them “downward,” into daily life, family, and practical business concerns. As these 7 and 4 energies mature and integrate, they form a powerful synthesis, enabling 34/7s and 43/7s to build a kind of bridge between heaven and Earth in creative ways, such as making money while bringing more beauty, happiness, or awareness into the world.

在震盪中回歸—中國當代藝術品市場正在走向新的價值構建

http://www.artbank.net.cn/market_show.asp?id=50


在震盪中回歸—中國當代藝術品市場正在走向新的價值構建
來源/作者：藝術銀行發布日期：2010-9-9 瀏覽次數：37



中國藝術市場中的中國當代藝術

在中國藝術品市場的發展中，沒有什麼比國內外各大拍賣公司春秋兩個大拍更讓人矚目的了。 而中國當代藝術在春秋拍賣中的表現，尤其讓人揪心。 隨著國力的增強與中國概念的崛起，中國文化也在不斷地覺醒。 當代藝術，特別是中國當代藝術，在社會文化及市場的雙向牽引下，不斷地變遷。 這種變遷需要創造，而創造恰好又是當代藝術的優勢與核心競爭力。

但是我們也不得不看到，從2010年國內春拍及香港蘇富比、佳士得春拍的情況，當代藝術品板塊與傳統的板塊相比，無論是從價值認知與信心，還是質與量，都說明中國當代藝術品市場的成長還需要有一段路要走。

通過分析中國藝術品市場，我們還發現這樣一個內在的生髮規律：那就是在市場發展的過程中，從總的情況來講，中國書畫市場板塊與中國當代藝術板塊表現為兩個不同的市場進程。 在中國藝術品市場新一輪的行情中，中國書畫板塊與當代藝術板塊的表現尤其引人矚目。 2009年上半年，中國書畫拍賣專場的價格不斷走高，率先轉暖，並拉動了中國藝術品市場在下半年由“暖”轉“熱”。 尤其是中國古代書畫部分出現了明顯的價格上漲，高價迭出。 在中國書畫板塊率先回暖的帶領下，市場中的當代藝術板塊也基本走出了上一輪的調整行情，其發展趨勢逐步升溫。

雖然中國書畫板塊與當代藝術板塊都顯現出了新的行情趨勢，但它們經歷的卻是兩個不同的進程。 2003年以前，在中國藝術品市場中，一直是中國書畫板塊一馬當先，當代藝術板塊是在中國書畫板塊的拉動下緩慢預熱。 2003年春拍之後，中國書畫市場價格率先出現暴漲，並啟動了中國藝術品市場前一波的“大行情”。 當歷經了2004、2005兩年的高速發展後，由於前期價格上漲過於迅速，中國書畫板塊出現了一定程度的泡沫，於2006年年內也率先進入了盤整期，其調整幅度一度達到35%左右，拍賣市場交易規模也一度縮水了近40億元人民幣；而此時的中國當代藝術板塊卻積聚了力量，不斷發力，於2007、2008年進入了快速發展期，作品價格也迅速攀升並迎來了一個新的高峰。



隨著中國藝術品市場的調整，特別是2008年後，全球性的金融危機對人們介入中國藝術品市場的信心造成了巨大的影響，中國藝術品當代藝術板塊也旋即進入調整期，市場景氣迅速下滑；而經過不斷調整的中國書畫市場板塊自2009年秋拍以來，其市場的信心又在進一步上升，從而帶動了中國藝術品市場的不斷復甦。 據我們預測，在2011年下半年，這一趨勢會更加明顯；而中國藝術品當代藝術板塊市場也會不斷地在這一過程中積聚力量，從而延續上一波行情的規律與走勢。

中國當代藝術從開始到壯大，從面對西方買家與關注高喊“狼來了”，到在一個平台上“與狼共舞”，再到被稱為“來自東方的一匹狼”這樣一個過程，其變遷可供人玩味。 從目前來看，中國當代藝術品市場要進入回暖的軌道，有三個標誌：

一是誠信治理找到了有效方式與方法，並取得了初步成效。 誠信危機不能得到有效的抑制，中國當代藝術品市場的回暖就只能是“小陽春”，而永遠都無法迎來艷陽天；無論用多麼艷麗的詞藻，都無法改變這一現實。 目前藝術品行業信用制度的缺失已成為製約中國當代藝術品市場發展的重要因素之一，健康的市場秩序和完善的市場機制是任何一個市場成熟的標誌所在。

二是藝術品資本市場不斷發育壯大。 一個沒有資本市場支撐的現代經濟市場，是沒有前途和出路的市場。 如果中國藝術品資本市場得不到切實的發育與發展，中國當代藝術品市場的所謂回暖就只是曇花一現。 流動性是資產的生命線，而拍賣市場的表現好於畫廊市場及私下交易市場是一事實。 全球金融危機的持續將會在很大程度上深刻地決定並影響當代藝術品市場，尤其是其未來的發展方向。

三是中國當代藝術品市場體系及其市場機制的發育。 一個體係不健全、機制未建立的市場我們不可預測，同樣，一個體係不健全、機制未建立的市場很難渴求其健康與快速的發展，除
非我們有足夠的信息共享與經驗的支撐。 我們只能說中國當代藝術品市場尚處在原發性的成長初期，由於發展的基礎存在缺失，隨機性與偶然性大量存在，規律性的東西需要深入挖掘。
從中國拍賣市場的發展歷程我們可以看到，中國當代藝術成長的歷程從發軔到不斷壯大，最後逐步成長為中國拍賣市場的五大主力板塊之一。 因此，在這裡對其係統的研究與關注就不僅是一種需要而且是更具時代性意義。

中國當代藝術市場在震盪中尋找支點

與中國傳統書畫市場不同的是，中國當代藝術與拍賣市場的關聯更加密切，拍賣對中國當代藝術價格及其走向的標示更具導向性。 中國當代藝術在拍賣市場中的波動，其實是反映了一種市場投資結構的狀態取向。

我們知道，與中國傳統書畫板塊不同的是，中國當代藝術在收藏人群、投資構成、作品走向及文化認知等幾個方面有著自己的特點：首先是收藏人群，它面對的大多是年輕的成功人士，具有時尚化的審美趣向；其次是投資資金而非禮品市場資金為主體；第三是作品大多在美術館所、機構甚或是個人空間中收藏，而不是大量地懸浮於市場的中間環節；第四就是文化的認同缺乏大眾性，認知面較為狹窄；第五，國際化程度高，由於藝術理念等關係，作品易於被西方市場認可。

中國當代藝術板塊市場的這些特點，決定了市場波動的內在邏輯，其中最為根本的是投入資本的認知偏好與價值判斷，所以中國當代藝術板塊市場波動的表面，隱含著的是在積極尋找一種可以用來支撐的市場支點，而這種支撐與支點不是別的，是資本的一種信心。 而信心的背後卻是對於收益的評判，這種收益除了經濟利益外，當然也不乏精神與社會的，其核心不外乎是我們反復強調的所謂價值判斷。

隨著中國藝術品市場的繁榮和興盛，中國當代藝術也開始嶄露頭角。 2007、2008年其數據分別有了比較大的增長。 但這一趨勢卻在2009年出現了較大的逆轉，成交量急劇下滑（見圖2所示）。 中國書畫板塊市場，自去年秋拍以來，似乎市場的信心在進一步上升，帶動了中國藝術品市場的不斷復甦。 據我們預測，在2011年下半年，這一趨勢會更加明顯。 而中國當代藝術板塊市場，會不會在這一過程中積聚力量，從而延續上一波行情的規律與走勢，還需要一段時間的觀察。 分析其中的原因，主要可能是由兩個不同板塊的投資屬性所決定的。 我們知道，上一輪的中國書畫板塊所展現的行情，其主要的市場形態還是禮品市場的支撐，收藏投資性資金所佔的份額並不大；而中國當代藝術板塊市場，其市場的主要形態是投資性的，不少投資是帶有藝術資本性質的介入，主要資金由投資性投資與收藏性投資兩部分組成，禮品市場的份額不大。 資本的趨利性會在中國書畫板塊的新一輪行情中，找到當代藝術新的市場成長空間，當然這種新的成長空間是建立在一個新的當代藝術形態下的，不可能是上一輪行情的完全複製。

中國當代藝術：市場反應的不僅僅是供需關係，更是一種觀念變遷的尺度

只要是市場的行為，那麼決定市場行情最為根本的因素就應該是供求關係。 在中國藝術品市場，當代藝術是一個剛剛成長起來的新興市場，但通過近幾年的發展，也不斷顯現出一種關注創造性、關注經典作品與典範性人物的取向。 中國當代藝術板塊雖然成行時間不長，經典與典範還大多在過程中，但這並不能限制人們以經典與典範的標準與眼光去觀察市場，發現價值。 中國當代藝術市場從小到大，收藏的人群從國外向國內，收藏的取向由時尚、獵奇而關注價值，由泛價值化而走向經典與典範，可以說這是中國當代藝術發展的一個必由之路，也是一個市場走向成熟與理性的開始，而所有這些，背後隱含的是一種觀念的悄然變化。



不容忽視的是，中國當代藝術海外表現不佳。 在2008年的春拍中，中國當代藝術在海外拍場整體顯現出疲軟乏力之態，不斷遭遇“滑鐵盧”。 中國當代藝術復甦尚待時日，2009年“當代藝術秋拍”比2007年市場巔峰期有近50%的“縮水”，已經證明中國當代藝術的海外市場仍處於艱難掙扎的底部。 但令人欣慰的是，2009年秋拍在中國當代藝術方面已經出現了一些積極信息，反映出中國當代藝術市場正向理性回歸。 具有20餘年拍賣歷程的香港藝術品市場成為全球中華藝術品拍賣中心之一，享有“一國兩制”自由貿易的優越市場環境，與內地唇齒相依的地理、文化、歷史的發展優勢，擁有一支經濟實力與藝術鑑賞力都是國際級的收藏家和古董商隊伍，有準確把握藝術品收藏主流走向的能力，顯示出對國際市場的引領作用。 2010年中國當代藝術市場行情也許會慢慢復甦。 倫敦當代藝術拍賣周顯示高端藝術品市場開始恢復，在經過18個月的沉寂之後，高端藝術品市場重新繁榮起來，名家作品也重又流向拍賣行。 不過中端市場依然處於猶疑狀態，買家們還不能通過幾起高價拍賣就判定市場進入上行通道。

高端藝術品需求保持上升趨勢。 2008年以來，全球收藏家和投資者對藝術精品的迫切需求已經成為一個不可阻擋的趨勢。 2006年，法國價格數據網數據顯示高端藝術品拍賣交易額占到了整個藝術品交易額的42.2%，而2005年這個數據則是33.7%。 2007、2008、2009三年，情況又有了新的發展（見圖3）。 實際上，這些數字的背後是資本對藝術品市場的需求和定位，藝術精品、高端作品更容易獲得資本的追捧和青睞。 由於高端藝術品受到資源、數量等因素的局限，未來，圍繞這一市場的爭奪將毫無疑問會愈演愈烈。

中國當代藝術的回歸是一個過程，這一過程的核心就是價值的發現與認知

對中國當代藝術來講，無論是支點的尋找也好，還是觀念的變遷也罷，其核心是價值的新發現及價值認知的轉化。 只有抓住了這一核心，我們才能不斷抓住紛繁雜蕪中的邏輯與規律，把握中國當代藝術發展的大勢。 中國當代藝術價值的回歸，最為主要的是三個方面：一是中國文化精神的認識，以及在此基礎上的回歸；二是審美與創作取向的回歸，深入本體、本源、本我，創作出經典，培育出典範，切入現實關注社會，聚焦人性的挖掘；三是市場回歸，收藏人群、資本及市場規模都不斷有國內或大中華圈因素的支持、支撐。 這種回歸過程的支點不是別的，是中國文化精神的發現，是中國文化自覺過程的一種必然選擇。

中國藝術品市場的深度回調，使中國當代藝術品市場產生了分化，並進入了二元發展的市場結構。 可以相信的是，全球金融危機的持續將會最終在很大程度上決定藝術品市場，尤其是其未來的發展方向。

從市場上講，出現了高端與中低端的投資市場，在市場規模的受壓之下，多頭市場占主導地位的格局雖然未能打破，但高端投資市場的不斷崛起，已在悄然地改變著中國當代藝術品市場份額的構成。

從價值主導上講，已經出現了來自學術價值對市場價值一方獨霸市場的挑戰，面對價值判斷，人們已越來越多地關注市場及其學術兩個方面的考量，價值判斷的二元結構已在形成。

從藝術家隊伍的分化中，出現了“市場皇帝”與“學術精英”同台獻唱的新格局，藝術人群兩極化現象驟步顯現。

全國性的大市場與不同區域市場的切割與融合出現了一些新的情況，區域化壁壘在強化，全國市場與區域市場的對峙使二元化的結構顯現。

中國當代藝術與傳統的中國藝術在不斷消長的市場中都有了自己的市場定位及份額，市場的二元構成雖然會有變化，但基本趨勢已經明顯，當代藝術的突起使中國藝術市場有了新的不確定性。

中國當代藝術是一種當代生存狀態，需要當代文化精神的支撐

隨著市場的調整，當代藝術板塊出現了迅速分化的傾向。 特別是中國藝術品市場進入新一輪行情后，將更多地關照生存狀態，發現價值與關注經典，體驗與理性的分析將成為一種重要的價值認知。 當代藝術復甦或許只是觀察到收藏家又來買藝術品了，但是買什麼藝術品，就仍要觀望等待了。 在低速盤旋中，那些更多地關注民族文化背景、闡釋民族文化精神的創造之作，會被人們重新審視其存在的價值，古典、寫實、實驗與抽象，都會找到市場的突破口。 不嚴肅，甚至接近玩鬧的所謂創造，在新的價值審視中，可能會迅速縮水，以至於難以生存。 中國書畫板塊近幾年市場的突飛猛進，給中國當代藝術品市場提供了新的標杆，其意義在於：只有擁有藏家，才會擁有市場；靠商業操作與技巧，只能贏得一時之強，靠學術能力的提升，靠藝術的獨創，才能不斷贏得未來。

最初的夢想—收藏家恩斯特•貝伊勒

http://www.artbank.net.cn/renwu_show.asp?id=27

最初的夢想—收藏家恩斯特•貝伊勒
來源/作者：藝術銀行發布日期：2010-7-2 瀏覽次數：98
從書店學徒到藝術收藏家

假如你是藝術愛好者，那你真的應該到位於瑞士巴塞爾市的貝伊勒畫廊（Galerie Beyeler）去看一看。 位於鮑姆雷加斯街（Bäumleingasse）9號的這所房子從正面看倒是平淡無奇，
但房門卻散發著令人生畏的氣場，也許是因為周邊安靜的環境和那些排列整齊的大窗戶吧。 推開房門，展現在你面前的，正是典型歐洲中產階級居住的郊區別墅構造：厚厚磚制結構，低矮的天花板，凹凸不平的地板，木製的樓梯扶手與百葉窗，還有色彩單調卻分明的牆漆。 但再往裡走就會發現這裡與尋常人家的不同，幾間全白牆壁的房間頓時讓這裡有了展覽館的氣息，而且牆壁的隔斷和佈局都經過了主人的精心設計，而這些牆壁上都正在或曾經懸掛著當代藝術史上最偉大的一些作品。

房子的後院曾經是一塊小花園，現在也被改造成了畫廊展區。 但置身於這樣一個半露天式的展覽館卻讓人更容易進入一種冥想狀態。 英國《泰晤士》報上的一篇文章這樣描述道：“在這樣一所房子裡，你似乎能聽見手指敲在打字機鍵盤上的聲音，並由此展開聯想。眼前浮現出一個穿著提花圖案毛衣的老人，坐在一副價值連城的名畫下，用打字機打印買賣單據的情景。”


文中描述的這個老人就是恩斯特·貝伊勒（Ernst Beyeler），當代藝術收藏家，藏品價值超過18億美元，由於他的個人影響，巴塞爾也成為了世界上最重要的藝術中心城市之一。

恩斯特·貝伊勒從上大學開始就在瑞士巴塞爾的一家古籍書店做學徒，這裡是鮑姆雷加斯街9號最早的樣子。 1945年，正值二戰剛剛結束，店長去世了，24歲的貝伊勒正式接管了書店，兩年後，他在這裡組織了一場日本木刻畫的展覽。 正是從這場展覽開始，鮑姆雷加斯街9號開始了由書店向畫廊的轉變，貝伊勒的名字和當代藝術收藏界的聯繫也由此建立。



多年後的今天，這家畫廊已經成為了歐洲最強大的畫廊之一，舉辦過300多場展覽。 許多在這裡展出作品的人都是20世紀藝術界響噹噹的名字，他們中的很多人也和貝伊勒私交甚好：貝伊勒可以直接從畢加索的工作室裡挑選作品；並曾在很長一段時間內擔任讓·杜布菲特（Jean Dubuffet）的私人代理；甚至還展出過巴尼特·紐曼（Baunett Newman），弗朗西斯·培根（Francis Bacon），羅伊·利希滕施泰因（RoyLichtenstein）和讓·米歇爾·巴斯奇亞（Jean-MichelBasquiat）等早期畫家的作品，其中不乏在當時驚世駭俗的風格之作。

鐵路工的兒子和倒煙缸的女人

貝伊勒於1921年7月16日出生在瑞士巴塞爾的一個鐵路工人家庭，這樣的家庭背景可以說和藝術品收藏八桿子打不著。 和許多世代相傳的收藏家相比，貝伊勒對當代藝術的興趣純粹是自己培養起來的。 他在巴塞爾大學主修經濟和藝術史專業，也許會有人基於這一點，認為他當時已經對自己的人生有了明確的規劃。 而事實並非如此。 貝伊勒最初的想法是做一名經濟學家，並準備在1939年，也就是他18周歲的時候離開瑞士去海外工作。 但第二次世界大戰的爆發令這個年輕人不得不呆在相對局勢平穩的家鄉，在前面提到的鮑姆雷加斯街9號做了一名管理員。 店長Oskar Schloss是德國人，也是個虔誠的佛教徒。 貝伊勒在他那裡學到了不少管理場館的經驗，對藝術品的鑑賞能力也大大提高。 於是，在貝伊勒接管了鮑姆雷加斯街9號並舉辦了日本木刻畫展後，許多當地的藝術品買家和博物館都開始注意這個年輕人，而貝伊勒也以自己獨特的眼光在藝術品市場上越做越大，成為歐洲最大的藝術品交易商和收藏家之一。

1948年，貝伊勒和小他一歲的希爾迪·康斯特（Hildy Kunz）結婚。 希爾迪的父親在瑞士海關工作，母親是家庭主婦。 與貝伊勒截然不同的家庭背景，讓她比丈夫多了幾分細緻。 現擔任索洛圖恩美術館（Kunstmuseum Solothurn）館長的安德雷·坎伯爾年輕時曾在貝伊勒畫廊做過實習生，他這樣描述希爾迪：“當時，她每天早晨都會倒煙灰缸，並告訴我們開畫廊最起碼要做到兩件事：一是每天把煙灰缸倒乾淨，二是照顧好養的花。這兩件事做完了才能開始工作。她對每件事都很負責，而且事事都以保護貝伊勒的利益為先。”

頭腦和朋友

雖然貝伊勒的收藏品價值高達10多億美元，但他卻總是保持低調的態度。 人們經常可以看到他在畫廊裡走來走去，完全沉浸在自己的想法中。 1973年，貝伊勒花18萬美元買下了威廉姆·德·庫寧（Willem de Kooning）的抽象派作品《警察公報》（Police Gazette），在當時創下藝術品收藏的價格記錄。 這幅畫輾轉於許多收藏家的手後，在2006年以1億4千萬美
元的價格出售。 “他看起來也許像是個上了年紀的滑雪教練，但假如你低估他，那你就慘了，”貝伊勒的一位不願透露姓名的競爭對手在接受倫敦《獨立報》採訪的時候說，“他的商業
頭腦像剃須刀一樣敏銳。 ”

當然，做藝術品買賣不能光靠對藝術品的研究和敏銳的商業頭腦，貝伊勒對外部環境和自己內心世界的準確認識也是他成功的基礎。 據他的朋友描述，每次展覽開始之前，他總是在門口和來訪者先寒暄一陣，親切之餘又能優雅的保持距離。 當人們舉起香檳把酒言歡時，卻看到他一人獨自坐在角落，拿著一本書在那兒自娛自樂——儘管身邊掛滿了當代藝術史上最偉大的畫作，他也依然面不改色。



和很多住在倫敦、巴黎或者紐約的藝術品收藏家不同，貝伊勒選擇居住在當時還並不算藝術中心的巴塞爾，他一輩子都生活在那裡。 今天的巴塞爾已經成了世界上最重要的藝術品買賣中轉站，一年一度的巴塞爾藝術節正是由貝伊勒和朋友在1971年聯合創辦的。

在他眾多的藝術家朋友中，和貝伊勒算是“忘年交”的巴勃羅·畢加索（Pablo Picasso）應該是最為世人所熟知的一位。 兩人很早就認識並彼此欣賞，畢加索一直允許貝伊勒從他的工作室裡任意挑選畫作展覽或出售，這也對畢加索後期的作品逐漸被社會接受起了推動作用（最多的一次他拿走了26幅，但很多至今都沒有出售）。 1971年，在畢加索的90歲生日上，貝伊勒展出了他的90幅作品。 10年後，畢加索已經去世，貝伊勒畫廊則為老友舉辦了一次回顧展，主題是紀念這位大師的“百年誕辰”。

1982年，貝伊勒和希爾迪建立了“貝伊勒基金會”，並授權設計法國蓬皮杜中心的建築大師倫佐·皮亞諾（Renzo Piano）為這個基金會設計了一個附屬的博物館，專門用作陳列夫婦倆的個人收藏。 這座博物館坐落在巴塞爾的里恩鎮，裡面收藏了220幅西方藝術家的作品，包括印象派和美國戰後藝術品，另外還有40幅來自非洲和遠東的畫作。 整個博物館由19個展館組成，其中兩個專門展覽畢加索和瑞士雕塑大師阿爾貝托·賈科梅蒂（Alberto Giacometti）的作品。

為一棵樹跟警察打起來

貝伊勒和希爾迪夫婦不僅對藝術品情有獨鍾，他們對滑雪的熱情也很高漲。 想想瑞士的雪山，這個愛好就挺順理成章了。 但他們不僅是單純喜歡戶外運動，而是把自己的這份熱情轉移到了對大自然的保護中。 兩人都是環保活動的堅定支持者和參與者，在剛結婚的那幾年裡，他們還曾經為了保護貝伊勒畫廊旁的一棵樹跟警察打起來。 當然，後來他們就不僅是為了保護一棵樹那麼簡單了：1998年，他們在貝伊勒基金博物館周圍的公園裡種了178棵樹——如此一來，他們可以不用拿血肉之軀跟電鋸做鬥爭了。

2001年，在自己80歲的生日聚會上，貝伊勒發表了這樣的感言：“在當今如此變化無常的市場局勢下，藝術應該為保護自然而生。因此，我們決定建立一個基金，讓公眾能為保護未開墾的森林，瀕臨滅絕的動物族群，以及人類的共同利益做出自己最大的貢獻。我們將為保護亞馬遜的活動捐款，並通過展覽的收入在南美洲的熱帶雨林裡建立自然保護區。目前這個基金裡有10萬瑞士法郎，然後我們將從每張貝伊勒基金博物館的門票中抽取一瑞士法郎，投入到這個基金中去。”僅2006年一年，博物館的參觀人數就達到了34萬人次。

從古董書店伙計到藝術品收藏家，從為一棵樹打架到設立環保基金，行動上好像反差挺大，但貝伊勒都實現了最初的夢想。2008年7月18日，希爾迪去世，2年後的2010年2月25日，貝伊勒在里恩鎮的家中去世，享年88歲。 兩人一生無子女。