{"id":2500,"date":"2017-03-22T13:16:00","date_gmt":"2017-03-22T13:16:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=2500"},"modified":"2022-12-04T17:09:14","modified_gmt":"2022-12-04T17:09:14","slug":"holzwege-20-years-of-shanghart","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/holzwege-20-years-of-shanghart\/","title":{"rendered":"Holzwege \u2013 20 Years of ShanghART"},"content":{"rendered":"\n

\u201cHolzwege\u201d<\/strong> Chen Xiaoyun, Ding Yi, Guo Xi & Zhang Jianling, Geng Jianyi, Han Feng, Huang Kui, J\u00f6rg Immendorff, Lin Ke, Li Ming, Liang Shaoji, Li Shan, Liang Yue, Liu Yue, Liu Chengrui, Markus L\u00fcpertz, Ouyang Chun, Shao Yi, Sun Xun, Wang Youshen, Apichatpong Weerasethakul, Xu Zhen \u2013 Produced by MadeIn Company, Yu Youhan, Yang Fudong, Yang Zhenzhong, Zeng Fanzhi, Zhao Yang, Zhang Qing, Robert Zhao Renhui, Zhang Enli<\/p>\n\n\n\n

ShanghART<\/strong> (Westbund, 2555-10 Longteng Avenue, Xuhui District) 9 Sep 2016-15 Feb, 2017<\/strong><\/p>\n\n\n\n

For a long time, ShanghART\u2019s home was the M50 art district on the banks of Suzhou Creek, a much smaller version of Beijing\u2019s Dashanzi 798. Galleries at M50 would come and go, but ShanghART\u2019s presence, along with the mostly local artists it represented\u2014including Ding Yi, Zhang Enli and Xu Zhen\u2014remained constant. Openings were always crowded with artists and the various collectors and critics were of only secondary importance. The best thing was to visit alone though. No one would bother you and there was endless time to look and explore.<\/p>\n\n\n\n

First floor<\/strong><\/p>\n\n\n\n

Upon entering the exhibition, we meet a Potemkin sculpture, with two classical figures nonchalantly balancing on a Henry Moore figure (the clear Perspex vessel in the form of \u201cXz\u201d, functioning as kitsch signature, filled with blue liquid being eaten by live ants). Behind it but un-missable is Geng Jianyi\u2019s \u201cThe Second State\u201d from 1987, a double self-portrait as laughing cavalier\u2014the original Chinese simulacra upon which all others were based. This is the opening shot. These are artists who are engaging with Western history on their own terms (and Western assumptions and expectations will be exploited). Flanking these works is a J\u00f6rg Immendorf to the left and on the right Markus L\u00fcpertz\u2019s \u201cGelber Held\u201d from 2013 next to a much bigger \u201cAppearance of Crosses\u201d work by Ding Yi. Completing the room on the fourth wall is an abstract work by Zhang Enli and another Immendorff, as well as a freestanding slim bronze tree by Zeng Fanzhi. Chinese abstraction versus German neo-expressionism. Upon first acquaintance, the concept behind ShanghART group exhibitions can sometimes appear opaque, particularly as they tend to be driven by individual works rather than overarching themes. \u201cHolzwege\u201d is a prime example of this\u2014perhaps it\u2019s very definition even\u2014but as we meander, a line through the forest emerges.<\/p>\n\n\n\n

In the second half of the room we meet Zhao Yang\u2019s Rorschach test on the Planet of the Apes, next to Yang Zhenzhong\u2019s physically dangerous 2001 video installation, \u201cIf You Have a Parrot, What Words Would You Teach Him (Her)?\u201d Yang is one of China\u2019s great video artists and humorists and long overdue wider critical attention. Here too there is an ethereal architectural-video installation by Apichatpong Weerasethakul. These works lead up to the First Act denouement: Liang Shaoji\u2019s \u201cLonely Cloud\u201d installation, an old tree trunk cocooned in silk and supported above rusted metal scaffolding. It is at once incubator and sarcophagus, ancient and alien, mode of transformation and dream receptacle. There is almost insufficient space to view it, forcing you to move close to it, a disturbing and awesome experience.<\/p>\n\n\n\n

\"\"
(foreground) Xu Zhen \u2013 produced by MadeIn Company, \u201cEternity, Reclining Woman: Elbow, Othryades the Dying Spartan, Adorant\u201d, 2016, 342.4*504.6*100cm (135\u2033*199\u2033*39\u201d), Installation, Inkjet print, high density chevron board, wood, metal, acrylic.
(background) Geng Jianyi \u201cThe Second State\u201d, 1987, 130*196cm (51\u2033*77\u201d), Painting, Oil on canvas (courtesy the artists and ShanghART, image Chris Moore)<\/figcaption><\/figure>\n\n\n\n

In summer the heat and humidity would make the old warehouse spaces stifling (in lieu of air conditioning, buckets of ice were placed in front of fans) and summer storms could be deafening on the galvanised sheet roof. On the coldest days of winter it was a challenge not to keep moving and a glass of hot water would be gratefully accepted. Writers were encouraged to use the fairly extensive library and meeting artists was easy. The gallery website is renowned for being somewhat bland, but its purpose is not to shout but to be thorough: an archive of each of the gallery\u2019s artists, of exhibitions and articles. Lorenz Helbing, the founder of ShanghART, possesses a very dry humour (one can easily find oneself on the wrong side of it) and a certain Swiss understatement. With straggly hair and stubble-chin, you could mistake him for an academic on a study retreat. His presence can be fugitive.<\/p>\n\n\n\n

\"\"
Markus L\u00fcpertz (b.1941)
\u201cGelber Held (Heroes)\u201d 2013, 81*100cm (32\u2033*39\u2033), Painting, mixed media, and Ding Yi \u201cAppearance of Crosses 2016-2\u2033, 2016, 240*240*6cm (94\u2033*94\u2033*2\u2033), Acrylic on basswood panel with engravings (courtesy the artist and ShanghART, image Chris Moore)<\/figcaption><\/figure>\n\n\n\n

Port-o-man<\/strong><\/p>\n\n\n\n

The story has become part of the mythology of the Shanghai art scene. ShanghART started in 1996, with a chair, a table and a telephone in the foyer of the Portman. The first exhibition opened with 15 abstract works by Ding Yi hung on the polished marble walls next to the second-floor lift\u2014\u201cAppearance of Crosses\u201d. \u201cThe newspapers were not allowed to write about it at the time because art should be understandable to the public. This work was very elitist, very strange. They thought people would not understand it and get angry.\u201d (1) It was hard work but the hotel was the ideal place to meet people, whether US President Bill Clinton and Secretary of State Madeleine Albright or Elton John. It was also how Lorenz met the then Swiss Ambassador, Uli Sigg, and the curator of dOCUMENTA, Harald Szeemann. The Portman is still the most famous hotel in Shanghai. Tell any taxi driver \u201cPort-o-man\u201d (Boteman) and he will instantly know where you want to go. Somehow it is also a fitting description too for the man how started ShanghART.<\/p>\n\n\n\n

In 1999, however, the Portman was sold to the Ritz Carlton and the gallery had to move, firstly to a 100-meter space inside the same building as the nightclub Park 97 next to Fuxing Park in the former French Concession, and then to a much larger space in the defunct heating facility of a former textile factory. Many of Lorenz\u2019s artists soon joined him at 50 Moganshan Road, including Ding Yi, Zhou Tiehai, and eventually also Xu Zhen. I recall a particularly sweaty summer interview with Zhang Enli in his studio there.<\/p>\n\n\n\n

In 2000, ShanghART became the first gallery based in China to have been accepted into Art Basel. Eight years later the gallery expanded to Caochangdi. Beijing was and remains the center of contemporary art in China and the new gallery space paid its respects to this, but its main purpose was to represent ShanghART\u2019s artists (it nestles next to Zeng Fanzhi\u2019s studio and home). In effect, it is now a firm part of the Beijing scene but to begin with it was something of an embassy for the Shanghai gang. In 2012, ShanghART opened a further space in Singapore\u2019s fledgling Gillman Barracks art district.<\/p>\n\n\n\n

Throughout everything there has been one guiding principle: to serve artists. In an interview, Zhou Tiehai remarked sardonically that \u201cCertain people from the West believed they would discover the culture of the native people.\u201d When asked whether Lorenz was also one, Tiehai replied. \u201cLorenz has long been one of us.\u201d (2)<\/p>\n\n\n\n

The path less travelled<\/strong><\/p>\n\n\n\n

It is November 2017 and ShanghART has a new flagship gallery in Shanghai\u2019s new Government-designated cultural precinct, cited between the former aircraft-hanger used by the West Bund Art and Design Fair and Budi Tek\u2019s Yuz Museum (numerous prominent ShanghART artists also have moved their studios to West Bund, such as Zhang Enli and Ding Yi). Inside the gallery are two floors of exhibition space, as well as a library\/bookshop and enough office space for ShanghART\u2019s team to develop exhibitions and manage the large number of art fairs in which the gallery participates. But today all attention is on the new gallery\u2019s inaugural exhibition.<\/p>\n\n\n\n

\u201cHolzwege\u201d is best understood in contrast to \u201cFeldweg\u201d. Whereas a Feldweg is a path through orderly fields, the Holzweg is the forester\u2019s path, which is harder to navigate, can become overgrown, or peter out entirely, but affords different possibilities and unexpected discoveries. Martin Heidegger chose it as the title of his collection of essays from 1936\u20131949 about the nature of art, and this forms the basis for ShanghART\u2019s retrospective exhibition; essentially, the disparate paths of investigation the gallery\u2019s artists have pursued, not driven so much by strategic purpose as intellectual curiosity.<\/p>\n\n\n\n

\u201cHolzwege\u201d is a mix of established artists such as Zeng Fanzhi, Ding Yi, Zhang Enli, Yang Fudong, and Xu Zhen alongside works by as yet less internationally prominent artists, such as Sun Xun, Zhao Yang and Ouyang Chun, as well as overseas artists, such as the German neoexpressionists J\u00f6rg Immendorff and Markus L\u00fcpertz and the Thai filmmaker Apichatpong Weerasethakul. The inclusion of a handful of foreign artists is wry and strategic. In the first place they act as the \u201cspring rolls\u201d at the party, as Li Xianting would say. (3) Secondly, it in some way positions the local artists in relation to an established Western hierarchy (part of ShanghART\u2019s success has always been Lorenz\u2019s ability to strategically introduce artists to renowned Western galleries that can further the artist\u2019s reputation beyond China\u2014think of Zhang Enli at Hauser & Wirth, Zhang Ding at Galerie Krinzinger, and now Sun Xun at Sean Kelly Gallery). It is also one of the reasons the gallery participates in so many art fairs regionally and in Europe and the U.S.<\/p>\n\n\n\n

\"\"
(foreground) Zeng Fanzhi, \u201cUntitled No.2\u2033, 2016, 193*260*52cm (76\u2033*102\u2033*20\u2033)|Plinth, 80*35*2.5cm, (31\u2033*14\u2033*1\u2033)|kg, Weight:26.373, Sculpture, Cast in silver.
(background L-R) ZHANG ENLI, Soilred and Bottlegreen, 2016, 250*300cm (98\u2033*118\u2033), Oil on canvas, and J\u00f6rg Immendorff (b.1945) \u201cIch bring\u2019s uns wieder\u201d, 1981, 200*200cm (79\u2033*79\u2033), Painting, Oil on canvas (images courtesy the artist and ShanghART, image Chris Moore)<\/figcaption><\/figure>\n\n\n\n
\"\"
YANG ZHENZHONG \u0085\u0011\u0003 \u201cIf You Have a Parrot, What Words Would You
Teach Him (Her)?\u201d, 2001 (Re-installed in 2016), 9 minutes 32 seconds, Single-channel video, Parrot, old television, and ZHAO YANG \u0090\u201dFire Thief\u201d 2016, 300*340cm (118\u2033*134\u2033) (in 2 pieces), EACH 300*170cm (118\u2033*67\u2033) (x 2 pieces), Oil on canvas (courtesy the artist and ShanghART, image Chris Moore)<\/figcaption><\/figure>\n\n\n\n
\"\"
LIANG SHAOJI \u201cLonely Cloud\u201d 2016, 245*428*114cm (96\u2033*169\u2033*45\u2033), Wood size 75*428*80cm (30\u2033*169\u2033*31\u2033), Frame size 245*114*114cm (96\u2033*45\u2033*45\u2033), Installation
Wood, silk, cocoons, steel pipes (courtesy the artist and ShanghART, image Chris Moore)<\/figcaption><\/figure>\n\n\n\n
\"\"
The new ShanghART gallery at West Bund (image Chris Moore)<\/figcaption><\/figure>\n\n\n\n

Second floor<\/strong><\/p>\n\n\n\n

Upstairs, a windowless, low-ceilinged room creates a more archival atmosphere. Works by L\u00fcpertz and Immendorff are again paired with a Chinese counterpart, this time Yu Youhan\u2019s \u201cA Pocket of Western Art History about Mao\u2014Victor Vasarely\u201d (1999-2000). The real challenge, though, are the ciphers in the middle of the room. There is a large blue box with \u201cexecute\u201d lettered on the side in white (Liu Chengrui) and an anodised folded-metal citadel (Shao Yi\u2019s \u201cRhythm\u201d), both 2016. Behind them is a large black abstract photographic wall work, a fake reflective dark sky with a sunny, almost Odilon Redon-esque sun leaning against it (Liu Yue, \u201cMaximised Uniqueness 14\u201d, 2016) and finally at the back of the room is Guo Xi and Zhang Jianling\u2019s installation \u201cA Man Who Doesn\u2019t Know Better\u201d, a series of textured polished aluminium plates propped against a dark green wall. A frequently heard comment about art in China is that it is derivative of Western works. What a lazy and dumb escape route. Derivative work can be found everywhere, especially in the West, and looking for and finding familiar characteristics is an inevitable and even automatic part of the process of getting to know an artwork. But the second act of \u201cHolzwege\u201d is not so indecipherable. If the first act was about historiography; the processing of history, then the second is about a present in which Shanghai has become the city of the future, and history and influence have been absorbed, domesticated and hybridized. Hence Liu Yue\u2019s sun and sky loom behind the city built by Liu Chengrui and Shao Yi, refined but empty vessels, whose purpose is simply to \u201cexecute\u201d. And behind it all an ideology, a classroom containing pristine \u2018blackboards\u2019 with polished surfaces and immaculate ideas.<\/p>\n\n\n\n

Shi Yong, who has long shown with the gallery (and when taking a break from creating art, regularly is part of the gallery team too, Art Basel included), describes Lorenz as a \u201cwise, taciturn Swiss mountain person\u201d (not that Lorenz\u2019s hometown of Brugg is particularly mountainous but the almost hermetic image conjured up is fitting). The respective practices of the artists of ShanghART are extremely diverse but there is a commonality of sensibility and humor. While each seeks their own Holzweg through the forest, sometimes they meet each other, and Lorenz\u2019s role is sometimes guide and sometimes wise man. The purpose of \u201cHolzwege\u201d is to celebrate ShanghART\u2019s first 20 years but it is also a log, not a map, of artistic explorations and concerns of multiple generations of artists who formed and built Shanghai\u2019s and China\u2019s bubbling art scene. \u201cHolzwege\u201d needs neither purpose nor destination but it is the perfect path for a journey.<\/p>\n\n\n\n

\"\"
LIU Chengrui \u201cExecute\u201d 2016, and LIU YUE,
\u201cMaximized Uniqueness 14\u2033 SHAO YI \u201cRhythm\u201d 2016<\/figcaption><\/figure>\n\n\n\n
\"\"
GUO Xi and ZHANG Jianling \u201cA Man Who Doesn\u2019t Know Better\u201d 2016 (in 5 pieces), Piece 1&2 200*100cm (79\u2033*39\u2033), Piece 3 100*75cm (39\u2033*30\u2033), Piece 4 80*55cm (31\u2033*22\u2033), Piece 5
60*40cm (24\u2033*16\u2033), Installation, Aluminum plates (image courtesy the artists and ShanghART, image Chris Moore)<\/figcaption><\/figure>\n\n\n\n
\"\"
LIU YUE \u201cMaximized Uniqueness 14\u2033, 2015-2016 (selected), |Black piece 29*20.5cm (11\u2033*8\u2033) (x 370 pieces), Colourful
piece 200*150cm (79\u2033*59\u2033),
Epson Ultra Giclee print, Hahnemuhle Photo Rag
Baryta<\/figcaption><\/figure>\n\n\n\n
\"\"
(foreground) SHAO YI \u201cRhythm\u201d, 2016, 125*180*240cm (49\u2033*71\u2033*94\u2033) (in 4 pieces), Installation, Steel plate (background) J\u00f6rg Immendorff (b.1945) \u201dJeder Mensch ist ein Maler\u201d, 2005, 130*110cm (51\u2033*43\u2033), Oil on canvas and Markus L\u00fcpertz (b.1941) \u201dDie Toilette (M\u00e4rkisch)\u201d, 2014, 100*163cm (39\u2033*64\u2033), Painting, Mixed media on canvas in artist\u2019s frame and and LIN Ke (b.1984) \u201dMy Present Owner 02\u2033, 2012-2016, 10 minutes 41 seconds, Video, and YU YOUHAN, \u201cA Pocket Western Art History About Mao \u2013 Victor Vasarely\u201d, 1999-2000, 150*150cm (59\u2033*59\u2033), Acrylic on canvas (images courtesy the artists and ShanghART, image Chris Moore)<\/figcaption><\/figure>\n\n\n\n

Notes<\/strong><\/p>\n\n\n\n

1. Sam Gaskin \u201cThe gallerist, Lorenz Helbling, Shanghai Pioneer\u201d, Artinfo, September 26, 2013<\/p>\n\n\n\n

http:\/\/www.blouinartinfo.com\/news\/story\/963380\/the-gallerist-lorenz-helbling-shanghai-pioneer<\/p>\n\n\n\n

2. \u201cGewisse Leute aus dem Westen glaubten, bei uns die Kultur der Eingeborenen zu entdecken\u201d, sagt der K\u00fcnstler. \u201cAuch Lorenz Helbling? \u201c, \u201cLorenz ist l\u00e4ngst einer von uns\u201d, sagt Zhou Tiehai\u201d, in Roy Spring \u201cVon einem, der auszog, die chinesische Kunstwelt zu erobern\u201d, originally published in Kulturmagazin, October 2011<\/p>\n\n\n\n

3. Li Xianting: \u201cTwo contexts are of particular importance: one is the end of the Cold War, and the other is the effect of post-colonial culture. To Westerners, post-colonial culture means the search for pluralism in cultural expression as a substitute for a Eurocentric cultural hegemony. Where they would like to prove that, as the leaders of global culture, they have the ability to determine the direction for the world, they need to bring in cultures from outside the Eurocentric circle to make them part of their mixed platter of international art. Under these circumstances, it happens that at the moment China is playing the part of the spring roll on this international banquet table.\u201d<\/p>\n\n\n\n

\u2013Li Xianting,\u201dShould We Be the Spring Roll on the Mixed Platter of International Art?\u201d
Also discussed with Li Xianting in Duncan Hewitt, \u201cLife in a Changing China\u201d Vintage Books: London, 2008 (first published by Chatto & Windus, London, 2007). Li also invented the term \u201cCynical Realism\u201d.<\/p>\n\n\n\n

References<\/strong><\/p>\n\n\n\n

Sam Gaskin \u201cThe gallerist, Lorenz Helbling, Shanghai Pioneer\u201d, Artinfo, September 26, 2013<\/p>\n\n\n\n

http:\/\/www.blouinartinfo.com\/news\/story\/963380\/the-gallerist-lorenz-helbling-shanghai-pioneer<\/p>\n\n\n\n

Tom Mangione \u201cTalking To: Lorenz Helbling\u201d in Talk Magazine, 2012-05<\/p>\n\n\n\n

http:\/\/shanghai.talkmagazines.cn\/issue\/2012-06\/talking-lorenz-helbling<\/p>\n\n\n\n

Xenia P\u00efech, Lorenz Helbling, \u201cInterview\u201d in The Crocodile in the Pond, ex. Cat. , Global Art St. Urban Foundation, Kerber Verlag: Bielefeld, Germany, 2016.<\/p>\n\n\n\n

Roy Spring \u201cVon einem, der auszog, die chinesische Kunstwelt zu erobern\u201d, originally published in Kulturmagazin, October 2011<\/p>\n\n\n\n

\nhttps:\/\/www.royspring.ch\/helbling\/\n<\/div><\/figure>\n","protected":false},"excerpt":{"rendered":"

\u201cHolzwege\u201d Chen Xiaoyun, Ding Yi, G … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":8,"featured_media":2532,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[20],"tags":[949,950,149,415,67,951,88,633,154,952,102,953,954,240,955,956,957,958,959,960,961,962,963,964,965,117,416,966,967,29,239,417,374,393,968,122,969,970,971,71,972,973,974,599,975,976,977,601,114,458,419,456,210,460,230,421],"yoast_head":"\nHolzwege \u2013 20 Years of ShanghART - \u71c3\u70b9 Ran Dian<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/www.randian.art\/holzwege-20-years-of-shanghart\/\" \/>\n<meta property=\"og:locale\" content=\"zh_TW\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Holzwege \u2013 20 Years of ShanghART - \u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"og:description\" content=\"\u201cHolzwege\u201d Chen Xiaoyun, Ding Yi, G … Continue reading →\" \/>\n<meta property=\"og:url\" content=\"http:\/\/www.randian.art\/holzwege-20-years-of-shanghart\/\" \/>\n<meta property=\"og:site_name\" content=\"\u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"article:published_time\" content=\"2017-03-22T13:16:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2022-12-04T17:09:14+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/Liang-Shaoji-1024x682.jpeg\" \/>\n\t<meta property=\"og:image:width\" content=\"1024\" \/>\n\t<meta property=\"og:image:height\" content=\"682\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Duyen Le\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Duyen Le\" \/>\n\t<meta name=\"twitter:label2\" content=\"\u9810\u4f30\u95b1\u8b80\u6642\u9593\" \/>\n\t<meta name=\"twitter:data2\" content=\"14 \u5206\u9418\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"http:\/\/www.randian.art\/holzwege-20-years-of-shanghart\/#article\",\"isPartOf\":{\"@id\":\"http:\/\/www.randian.art\/holzwege-20-years-of-shanghart\/\"},\"author\":{\"name\":\"Duyen Le\",\"@id\":\"http:\/\/www.randian.art\/#\/schema\/person\/4d95ceea857b4c4fde91b6437bfaee13\"},\"headline\":\"Holzwege \u2013 20 Years of ShanghART\",\"datePublished\":\"2017-03-22T13:16:00+00:00\",\"dateModified\":\"2022-12-04T17:09:14+00:00\",\"mainEntityOfPage\":{\"@id\":\"http:\/\/www.randian.art\/holzwege-20-years-of-shanghart\/\"},\"wordCount\":2626,\"commentCount\":0,\"publisher\":{\"@id\":\"http:\/\/www.randian.art\/#organization\"},\"keywords\":[\"2016\",\"Apichatpong Weerasethakul\",\"art\",\"art gallery\",\"artist\",\"Chen Xiaoyun\",\"Chris Moore\",\"Christopher Moore\",\"contemporary art\",\"Ding Yi\",\"exhibition\",\"Geng Jianyi\",\"GUO Xi + ZHANG Jianling\",\"Han Feng\",\"HOLZWEGE\",\"HUANG Kui\",\"J\u00d6RG IMMENDORFF\",\"Li Ming\",\"Li Shan\",\"Liang Shaoji\",\"LIANG Yue\",\"Lin Ke\",\"Liu Chengrui\",\"Liu Yue\",\"lorenz helbling\",\"MadeIn Company\",\"magazine\",\"Markus L\u00fcpertz\",\"Ouyang Chun\",\"Ran Dian\",\"Ran Dian magazine\",\"Ran Dian \u71c3\u70b9 magazine\",\"randian\",\"randian online\",\"Robert Zhao Renhui\",\"ShanghART\",\"SHAO Yi\",\"Sun Xun\",\"Wang Youshen\",\"Xu Zhen\",\"yang fudong\",\"yang zhenzhong\",\"Yu Youhan\",\"zeng fanzhi\",\"zhang enli\",\"ZHANG Qing\",\"ZHAO Yang\",\"\u4e0a\u6d77\",\"\u58a8\u864e\u607a\",\"\u5fb7\u8428\u5317\u4eac\",\"\u6b63\u5728\u5e03\u5c55\",\"\u2f51\u6817\u2f26\",\"\u71c3\u70b9\",\"\u827a\u672f+\",\"\u827a\u672f\u5bb6\",\"\u827a\u672f\u753b\u5eca\"],\"articleSection\":[\"Reviews\"],\"inLanguage\":\"zh-TW\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"http:\/\/www.randian.art\/holzwege-20-years-of-shanghart\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"http:\/\/www.randian.art\/holzwege-20-years-of-shanghart\/\",\"url\":\"http:\/\/www.randian.art\/holzwege-20-years-of-shanghart\/\",\"name\":\"Holzwege \u2013 20 Years of ShanghART - 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