“中欧人文智库峰会”与会嘉宾

2013-12-06 23:09:38　来源: 网易举报

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崔峤女士，北京当代艺术基金会理事长（中国）

崔峤女士，北京当代艺术基金会理事长

CUI Qiao, President, Beijing Contemporary Art Foundation

BCAF理事长、宝马基金会中国代表。“创意先锋”文化推广领袖（《新视线》评选）。哈尔滨工程大学学士学位（管理工程、英语外贸），德国柏林自由大学硕士学位（经济管理、艺术史、新闻媒体）。曾任柏林国际电影节中国选片代表、歌德学院（中国）公共关系部主任与文化项目部主任、尤伦斯当代艺术中心（UCCA）副馆长、德国墨卡托基金会策划顾问、中国欧盟高峰文化论坛嘉宾、韩国相生青年领袖论坛演讲嘉宾等。曾策划世界电影大师文德斯（Wim Wenders）、阿巴斯（Abbas Kiarostami）中国巡展、图书《北京跑酷》（获中国建筑图书奖）等众多优秀文化艺术项目。她在UCCA所带领的公众教育团队曾获《Time Out北京》“最佳公众活动年度大奖”，《艺术财经》“中国当代艺术权力榜”的年度公共教育项目奖、“互动百科”网站的中国优秀公益合作伙伴年度大奖。

Director-general of BCAF, Chinese Representative of the BWM Foundation. “Creative Pioneer" Leader of Culture Promotion (selected by the Outlook Magazine). She received her bachelors from Harbin Engineering University in Management Engineering and English Foreign Trade, and masters from Free University of Berlin (The Freie Universität Berlin) in Economics Management, Art History, and News Media. Cui had been the selection representative of Chinese films for the Berlin International Film Festival, director of public relation department and cultural projects department of the Goethe Institute (China), vice-director of the Ullens Center for Contemporary Art (UCCA), planning consultant of the Mercator-Stiftung in Germany, guest of the China-EU Culture Summit, and guest lecturer of the Korean Youth Leadership Forum, etc. She has planned the China tour for international film directors Wim Winders and Abbas Kiarostami. She participated in the making of many excellent culture and art projects such as the book Parkour in Beijing. The public education team she led at UCCA had won "the Best Public Project of the Year" awarded by Time Out Beijing, the annual public education project award by the Art Finance L'Officiel Art magazine's "Chinese Contemporary Art Power List", and the Excellent Charity Cooperation Partner of the Year by the website “Hudong: Interactive Online".

关于北京当代艺术基金会About Beijing Contemporary Art Foundation

2008年在北京市民政局正式注册

业务主管单位为北京市文化局

中国唯一专注都市文化和当代艺术的公募性基金会

北京当代艺术基金会致力于驱动中国当代思想的多维度与灵活性，促成智慧创意在都市空间的实践交流与能量显现，填补中国此类文化机构的空白领域。文化艺术基金会作为新兴力量，将集结各学科、专业、背景的多元独立人才，他们的观察、思考、行动将释放文化创造力和文化传播力这两种核心力量。北京当代艺术基金会将助力发展多元的城市文化生态系统：开放性人文空间、前沿性国际高峰合作、创新型艺术区域开发、社区文化培育、媒体合作及出版、纪录片系列等。

Officially registered in 2008 with the Beijing Municipal Bureau of Civil Affairs, the Beijing Contemporary Art Foundation is under the administration of the Beijing Municipal Bureau of Cultural Affairs. It is the only public foundation dedicated to urban culture and contemporary art.

Strategic Direction: I. Urban Think Tank | Humanity Think Tank,

Strategic Direction: II. Blooming Space | International Dialogue, Space of Thoughts

Strategic Direction: III. Public Community | Cultural Eduction, Interaction with the Public

单菁菁女士，中国社会科学院城市发展与环境研究所研究员（中国）

SHAN Jingjing, Senior Research Fellow of the Institute for Urban and Environmental Studies in the Chinese Academy of Social Science (China)

社会学博士，经济学博士后，中国社会科学院城市与环境研究所研究员、《中国城市发展报告》(城市蓝皮书)副主编。主要研究方向：城市与区域发展、城市与区域规划、城市经济、城市社会管理、城镇化等。长期从事城市与区域规划、发展战略及城市问题研究，先后主持或参与国家社科基金课题、院重大课题、院重点课题、所重点课题、青年基金课题、省部委及地方委托课题等60多项，其中主持课题32项；参加19部学术著作的撰写工作，其中专著2部、(副)主编3部、合著14部；发表中英文学术论文50多篇，撰写研究报告50多篇，向国务院提交了10多个政策建议，总字数200多万字。

Shan Jingjing, Doctor of Sociology, Post-Doctor of Economics, Senior Research Fellow of the Institute for Urban and Environmental Studies in the Chinese Academy of Social Sciences (IUES, CASS), deputy editor of the book Annual Report on Urban Development of China (Blue Book of Cities in China). Her research fields include: urban and regional development and planning, urban economy, urban social management and urbanization. She has been long engaged in the study of urban and regional planning, development strategy and urban issues. She had taken part in more than 60 projects, including 32 projects she was in charge of. These projects were in diverse levels, such as the National Social Science Fund project, major projects supported by the Chinese Academy of Social Sciences, major projects supported by the Institute for Urban and Environmental Studies, Youth Fund project, and projects authorized by provinces, ministries and local governments. She also participated in writing 19 books, including 2 monographs, 3 deputy-edited books and 14 co-authored books. She published more than 50 papers in Chinese and English, authored more than 50 research reports, submitted more than 10 policy recommendations to the State Council, which is more than 2 million words in total.

关于中国社会科学院 // About the Chinese Academy of Social Sciences

前身为1994年组建的城市发展与环境研究中心，1997年经中编委批复同意成为院属具有独立法人地位的科研机构。2009年2月，中国社会科学院党组将城市中心更名为城市发展与环境研究所，9月中编办予以正式批复。研究所拥有国家环境部认定的战略规划环境评价资质、国家统计局认定的涉外社会调查资质、国土资源部认定的土地利用规划甲级资质、建设部认定的规划设计甲级资质，形成了城市化、城市与区域发展、都市密集区、西部大开发、土地经济与房地产、三峡移民、城市垃圾处理、生态城市、可持续发展、应对气候变化、低碳经济、国际碳市场与CDM政策等优势研究领域。近年来，先后承担了数十项国家社科基金、国家自然科学基金、国家科技支撑项目以及院重大、重点课题，承担并完成国家和地方政府委托课题100多项。研究所学术活动积极活跃，国内外学术交流十分频繁，并举办了一系列具有国际影响的学术会议，每年出访和接待来访数百人次。

The Institute for Urban and Environmental Studies (IUE) of CASS (Chinese Academy of Social Sciences) was formerly known as the Research Center for Urban Development and Environment (RCUDE). RCUDE was established in October 1994 and became an independent legal entity under CASS, engaging in academic and policy oriented research. RCUDE was renamed as IUE by CASS in February of 2009, which was approved by the Central Government in September in the same year. The Institute is certified by the Ministry of Environmental Protection to provide environmental impact assessment for planning, by the National Bureau of Statistics to conduct foreign-related social surveys, by the Ministry of Housing and Urban-Rural Development to engage in urban planning and design, and by the Ministry of Land and Resources to participate in land development and planning.

The institute has various superior research fields, such as urbanization, urban and regional development, metropolitan region, China’s Western Development Campaign, Land economics and real estate, Three Gorges migrants, city garbage disposal, ecological city, sustainable development, climate change, low carbon economy, international carbon market and CDM policy. IUE has undertaken dozens of research projects supported either by National Social Science Fund, the National Natural Science Fund, the National Science and Technology Pillar Program, and CASS. IUE conducts various forms of academic activities and is actively engaged in academic exchanges with its domestic and overseas counterparts. In Recent years, IUE has successfully organized a series of conferences of international significance, and has received hundreds of visiting scholars and visitors annually.

张帆先生，迷笛音乐节创始人（中国）

张帆先生，Midi迷笛音乐节创始人（中国）

ZHANG Fan, Founder of Midi Modern Music Festival (China)

迷笛音乐节（Midi Festival）创始人、2013北京文博会“中国文化创意产业最具网络影响力十大人物”。十四年来，迷笛音乐节先后在全国各地举办了二十二届：北京迷笛音乐节、上海迷笛音乐节、海洋迷笛音乐节、长江迷笛音乐节及深圳迷笛音乐节。迷笛音乐节对中国摇滚音乐的宣传、推广及产业发展发挥了重要的推动作用，并在自身前进的同时扶植帮助了中国各地大量露天音乐节的诞生和发展。迷笛音乐节被誉为中国的伍德斯托克和真正的青年节。14年来，迷笛一直在致力于用摇滚音乐节这一音乐平台推广优秀的青年文化，传播自由、和平与友爱的人道主义精神及公平正义的原则。

Zhang Fan, the founder Midi Festival - the first and currently China’s biggest rock music festival. Before the festival was founded in 2000, there had never been a non-official music festival in China, and young people never really experienced to stand to cheer and embrace the freedom and passion of the rock music. Up to the year of 2013, 22 music festivals were held at different cities across China: Beijing Midi Festival, Shanghai Midi Festival, Ocean Midi Festival, Yangtze Midi Festival and Shenzhen Midi Festival. Midi Festival has played a significant role in publicity, promotion and industrial development of rock music in China. Along with its progress, it has also cultivated and helped with the emergence and development of open-air music festival in various Chinese cities. Midi Festival is praised as the Chinese version of Woodstock Music Festival, and the real youth festival for Chinese young generation. In the past 14 years, Midi has been fully devoted to take rock and roll music festival as the a big platform to promote excellent youth culture, communicate the spirit of freedom, peace and friendship in line with the principle of fair and justice. Midi Festival is well received and supported by hundreds of thousands of Chinese young people. In the 2013 Beijing International Cultural & Creative Industry Exposition, Zhang Fan was awarded as one of the Ten Most Powerful Men with Internet Influence in China’s Cultural & Creative Industry. The award was based on the direct result of Internet data collection by Zhongguancun Data Industry Alliance.

关于迷笛音乐节 // About Midi Modern Music Festival

迷笛音乐节是中国最富影响力的摇滚音乐节之一，始于2000年，由北京迷笛学校创办。2003，2004及2008年10月1日至4日在北京国际雕塑公园40000平米的露天广场上举行的迷笛音乐节创下了80000人的纪录，2005年3月发行了此次音乐节现场DVD，是音乐节第一次发行，也是中国大陆第一套摇滚现场DVD。2006年，在北京海淀公园举行的第7届迷笛音乐节上，参与观众人数达6万人次，主舞台数目增至4个，超过50支来自世界各地的音乐团体进行演出，其中囊括了摇滚，民谣，电子和嘻哈等多种音乐形式。2007年第8届迷笛音乐节规模更加盛大，共搭建5个舞台，在上届4个舞台的基础上增设HIP-POP舞台，同时第一次引入“民谣日”。此次参演的中外乐队及艺人近800人。每日观众约3万。设计师池磊为迷笛音乐节设计的永久性logo“绿蝶”映衬出2007年的迷笛主题——“绿色与和平”，通过迷笛的宣传平台，世界知名NGO组织“绿色和平“在中国大陆得到成功的推广，迷笛音乐节将继续在公众宣传上起到积极的作用。

Midi Festival is China’s largest rock music festival. Since its inauguration in 2000, it has been held each year in Beijing during the May holiday, with some breaks in 2003, 2004 and 2008 (all times held in October). The 2008 festival was delayed to October for reasons related to the 2008 Summer Olympics. The festival is hosted by the Beijing Midi School of Music. The 2006 festival, held in Beijing's Haidian Park, hosted 40-80 thousand visitors, and featured performances by more than 50 bands (including 18 foreign bands, such as Alev, Monokino, Yokohama Music Association, The Wombats, and The Mayflies) performing on four stages (Main Stage, Guitarchina Stage, Mini Midi Stage, and Disco Stage). The artists represented the genres of rock, electro, and DJ. The 2007 festival included UK acts, the Crimea, Kava Kava (band), Dave Stewart of the Eurythmics, and Soundtrack Of Our Lives. The festival regularly features environmental themes as their slogan, such as raising awareness for animals threatened with extinction and PM2.5. Since 2008, Rock in China is providing the English language website for Midi Festival.

王璜生先生，中央美术学院美术馆馆长（中国）

王璜生先生，中央美院美术馆馆长（中国）

WANG Huangsheng, Director of Central Academy of Fine Art Museum (China)

美术学博士，中央美术学院教授，中央美院美术馆馆长，学术委员会常委，中国美术家协会理事，全国美术馆专业委员会副主任，国务院政府特殊津贴专家，广州美术学院、南京艺术学院、华南师范大学特聘教授。2004年获法国政府颁发的“文学与艺术骑士勋章”，2006年获意大利总统颁发的“骑士勋章”。创办和策划“广州三年展”、“广州摄影双年展”及“CAFAM双年展”等。2000年至2009年任广东美术馆馆长。美术作品入选“第八届全国美展”、“第九届全国美展”、“第十一届全国美展”、“百年中国画大展”、“中国艺术大展”等。作品为中国美术馆、英国维多利亚与阿尔伯特博物馆、意大利乌菲奇博物馆、德国柏林亚洲艺术博物馆、意大利曼托瓦博物馆、广东美术馆、浙江美术馆、湖北美术馆、广东省博物馆、安徽省博物馆等机构收藏。

Wang Huangsheng obtained his master from the Nanjing Art Institute (Art History) in 1990 and his doctorate in 2006. He is now the Director of Central Academy of Fine Art Museum, member of the council of China Artists Association, deputy director of the Art Museum Committee of China, Vice-chairman of the Guangdong Artists Association, and member of the Expert Committee of the Chinese National Museum of Fine Arts. Wang is also a distinguished visiting professor in Guangzhou Academy of Fine Arts, Nanjing Art Institute and South China Normal University. Wang is an outstanding art expert who is funded by the State Council in China, and is reputed as the first-class national artist. In 2004, he was given the French title “Chevalier de l’Ordre des Arts et des Lettres”. In 2006, he received the knight medal awarded by the President of Italy. Furthermore, Wang’s artworks are frequently included in major national exhibitions, such as the 8th, 9th, and 11th National Art Exhibition, Major Exhibition of Traditional Chinese Painting in the 20th Century” and “Major exhibition of Chinese Art”, etc. Nowadays, Wang’s artworks are collected and treasured by the Chinese National Museum of Fine Arts, Victoria and Albert Museum in the UK, Black-Philippien Museum in Italy, Berlin Asian Art Museum in Germany, Mantova Museum in Italy, Guangdong Art Museum, Zhejiang Art Museum, Hubei Art Museum, Guangdong Provincial Museum, and Hanhui Provincial Museum.

关于中央美术学院美术馆 // About the Art Museum of China Central Academy of Fine Arts

原中央美术学院陈列馆，建于1953年，地处北京市东城区校尉胡同5号。馆内藏品1.3万余件，涉及古今，兼顾中西，囊括各个美术领域，体现出不同艺术类别的风格样式。新美术馆于2008年3月竣工，位于朝阳区花家地南街8号的中央美院校园内。美术馆建筑呈微微扭转的三维曲面体，天然岩板幕墙，配以现代性的类雕塑建筑，同时与校园内吴良镛先生设计的深灰色彩院落式布局的建筑物充分融合及协调。美术馆总面积为14777平方米，地上四层，地下二层，局部地下一层。展览面积6000余平方米，其中二层为常设展厅；专题展厅设置在三层及四层，均为天光围幕的敞开式现代化展厅。藏品库房位于地下二层，1240平方米，采用国际最新信息技术和数字化管理，在软硬件方面均达到国际水准。公共服务设施主要位于一层，其中国际会议厅可容纳380人，为学术研讨、专题讲座及新闻发布会等提供了便利场所。其他公共服务设施还有总服务台、寄存处、咖啡厅、书店和礼品店等。

Established in 1953, the Art Museum of China Central Academy of Fine Arts (formerly CAFA Gallery) was located at No.5, Xiaowei Alley, Dongcheng District, with a rich collection of some 13,000 works covering a wide variety of genres and styles, from ancient to present, from China and western countries, and all art fields- representative works of maestros, contemporary artists, as well as works of fine students. Completed in March 2008, the new art museum is situated in the campus of CAFA (No.8, Huajiadi Nan Street, Chaoyang District). The museum has a three-dimensional slightly twisted and curved surface body, a curtain wall of natural rock plates, together with the most modernistic quasi-sculpture architecture, which exhibits the reserved and low profile characteristics of CAFA. It also syncretizes with the dark grey courtyard-style architecture in the campus, which is designed by Wu Liangyong. The museum covers an area of 14,777 m2, with four floors above ground, two underground and one underground in part. The total exhibition and display area is over 6,000 m2. F2 is for permanent gallery, displaying permanent exhibits; the thematic exhibition gallery is on F3 and 4, designed with open space and daylight curtain, can provide sufficient space for contemporary art exhibition and large art & culture show. The collection warehouse of the museum is on B2, covering an area of 1,240 m2. It adopts the latest information technology and digital management in the world, and has reached the international level in both software and hardware. Public service facilities are on F1. The lecture hall on F1 can accommodate 380 people, a convenient place for academic seminars, special lectures and press conferences. Other facilities also include the reception desk, cafés and bookstores.

牛文怡先生，《Time Out 北京》杂志主编（中国）

牛文怡先生，《TimeOut北京》杂志主编（中国)

NIU Wenyi, Editor-In-Chief of “TimeOut Beijing” (China)

著名传媒人。先后就读于复旦大学、南京大学和德国哥廷根大学，主修文学和经济法。在德期间担任电影杂志驻欧洲记者，撰写电影专栏。2003年回国后，加入新京报，参与创立新京报文化副刊，后担任副主编，先后主持新京报文化新闻、新知周刊、书评周刊的编辑工作。2007年初加入歌德学院（德国文化中心），担任中国区公共事务部主任，组织多个大型中德文化交流活动，并参与了德国文化年“德中同行”项目组织。2008年初加入财讯传媒，担任《TimeOut北京》执行主编，2013年任总编辑。主要关注领域为城市文化、公共传播与新媒体。

Editor in chief of TimeOut Beijing Chinese Edition. Studied in European Law Center, University of Goettingen, Law School, University of Nanjing Germany. German Language and Literature, Fudan University, Shanghai. He has played an active role in Chinese media. Former Chief PR Officer of Goethe Institute (German Culture Center) in China, deputy editor of culture section of Xinjingbao (the Beijingnewsdaily).

关于《TimeOut北京》

About Time Out Beijing

总部位于英国伦敦，创立于19 6 8年，有超过42年的历史，集团的第一本出版物《TimeOut London》在英国享有绝对崇高的城市生活类杂志标杆地位。《TimeOut北京》中文版用国际标准，服务中国都市高尚人群；精选城市资讯，报道最丰富、最权威、最客观、最有品质的城市生活，关注城市精神与品质消费，在业界和读者心目中享有盛誉。如今《TimeOut》发行遍及全球近2 0个国家和近10 0个城市。

Being a history for 42 years since its foundation in 1968 with its headquarters located at London, England, “TimeOut London”, the group's first publication, has enjoyed absolutely the lofty leveling banner status among those city life magazines in England. The Chinese Edition of "TimeOut Beijing" applies world-grade format to provide the Chinese urbanized noble crowd the wellchosen city information, including the richest, most authoritative, most objective and most quality-oriented city life. It has been highly appreciated in the field and in the mind of readers since it pays attention to the city spirit and the consumption quality. Nowadays, “TimeOut” has been distributed to nearly 20 countries and 100 cities throughout the world.

陆晓晖女士，童协基金会

关于童协基金会//About Kids4kids

童协基金会是非牟利慈善组织，於2008年在香港成立。

我们以 “透过教育及赋予儿童自主，使他们自发地去帮助其他人”为宗旨。

童协基金会鼓励儿童积极参与由创作项目至青少年主导的外展活动，并啟发他们回馈社会，为本地及海外有需要的儿童创造美好明天。

Kids4Kids is a non-profit organization founded in Hong Kong in 2008 and a registered charitable institution exempt from tax under Section 88 of the Inland Revenue Ordinance.

Our mission is to empower children to take responsibility with opportunities to learn about giving back — from the products created to activities organized by kids of all ages to reach out and help, in our local community, for a better Hong Kong.

李虎先生，OPEN 建筑事务所合伙创始人（美国、中国）

李虎先生，OPEN建筑事务所合伙创始人（美国、中国） // LI Hu, Founder Partner of OPEN Architecture (USA, China)

OPEN建筑事务所创始合伙人，美国哥伦比亚大学北京建筑中心(Studio-X Beijing)负责人。

2000-2010年任职于美国斯蒂文·霍尔建筑事务所，从2005年起成为其事务所合伙人，创建并负责其北京工作室，期间负责设计了一系列有影响力的都市建筑作品，包括北京当代MOMA、深圳万科中心、成都来福士广场和南京四方美术馆等。2010年底正式退出斯蒂文·霍尔建筑事务所合伙人职位，与黄文菁一起专注于OPEN建筑事务所的实践。2012年，OPEN的作品获得了WA中国建筑奖和中国建筑传媒奖的最佳建筑奖。

Li Hu, founding partner of OPEN Architecture, director of Columbia University GSAPP’s Studio-X Beijing.

He worked at Steven Holl Architects from 2000 to 2010, and became a partner of the firm in 2005. Li founded the SHA’s Beijing Office, and was responsible for the firm’s influential urban projects in Asia, including Linked Hybrid in Beijing, Vanke Center in Shenzhen, Raffles City in Chengdu, and Sifang Art Museum in Nanjing. Li left SHA at the end of 2010 to focus on the practice of OPEN Architecture with partner Huang Wenjing. In 2012, OPEN’s work received the WA Chinese Architecture Award, and the Best Architecture Award by Chinese Architecture Media Award.

关于OPEN建筑事务所 // About the OPEN Architecture

OPEN建筑事务所是一个国际化的建筑师和设计师的团队。我们与跨界合作者一起实践城市设计、建筑设计、室内设计以及设计策略的创造。OPEN相信研究与合作是设计和创造的基础。近些年OPEN的研究工作密切关注发展中国家尤其是中国前所未有的城市发展速度所带来的环境与社会问题，这些研究工作帮助OPEN的实践直接立足于当下的社会经济条件中。在坚持理想和立场的同时，OPEN的实践直面时代特定的问题和各种挑战，去创造能与自然和社会建立起新的良好关系的建筑和城市空间。OPEN与各种不同领域的专家合作，在深度和广度上最大地发掘每个项目的独特潜力。在可持续性建筑实践方面，事务所积累了大量的经验，也和该领域中领先的工程师及机构建立了良好的合作。OPEN由李虎和黄文菁创立于纽约，2006年建立北京工作室。2012年OPEN的作品获得了WA中国建筑奖和中国建筑传媒奖的最佳建筑奖。

OPEN Architecture is a team of international architects and designers, with collaborators across different disciplines to practice urbanism, architecture, interior design and the creation of strategies in the context of new challenges of our time. OPEN believes that research and collaboration is the foundation for design and creation. In recent years, OPEN’s researches have focused on the social and environmental problems associated with the unprecedented speed of urban development in Asian countries, especially in China. These researches have enabled OPEN’s practice to be deeply rooted in the current social and economic context. While remaining idealistic and persistent, OPEN’s practice directly deal with the problems and challenges of our time, and strives to create architecture and urban spaces that could establish a new relation with nature and society. OPEN collaborates with experts from different disciplines for architecture to broaden and enrich the potential of each unique project. OPEN has also built up expertise on sustainability and collaborative working relationship with some of the leading engineers and institutions in the field. OPEN was founded by Li Hu and Huang Wenjing in New York City and established its offce in Beijing in 2006. In 2012, OPEN’s work received the WA Chinese Architecture Award, and the Best Architecture Award by Chinese Architecture Media Award.

欧方发言嘉宾 | European Speakers：

David Fouquet 先生，欧亚关系研究所主席（比利时／卢森堡）

David Fouquet, 欧亚关系研究所(卢森堡布鲁塞尔) (EIAS) 主席（比利时／卢森堡）

Director of the European Institute for Asian Studies (Belgium / Luxemburg)

曾为常驻布鲁塞尔国际记者，参于欧洲和亚洲之间多层关系的建立已10余年。目前为欧盟中国文化协会会长，欧亚关系研究所资深干员，欧洲中部国际战略研究学院（Centre Europeen de Recherches Internationales et Strategiques）理事。David Fouquet先生致力于从事研究、撰写、演讲，并且组织欧洲-亚洲关系的互动项目。兴趣主要有：经济政治问题，战略安全，环境和可持续发展。在参与这些活动时，每年一般来中国三到四次，进行参访和演讲，也是Fouquet先生的重要工作。

David Fouquet is a former international journalist based in Brussels who has been involved in the relationship between Europe and Asia for over a decade at several levels. He is currently the head of an EU-China cultural association, a senior associate with the European Institute for Asian Studies, and on the board of the Centre Europeen de Recherches Internationales et Strategiques. In these activities, he is deeply involved in research, writing, lecturing and organizing elements of the European-Asian relationship. His interests relate to political-economic issues, the strategic and security environment and sustainability. During the course of these activities, he generally travels and lectures three or four times a year to China, which has been the focus of his work.

关于欧亚关系研究所（EIAS）// About the European Institute for Asian Studies (EIAS)

聚焦于欧亚关系的智囊机构，总部设在布鲁塞尔。作为一个政策研究中心，其宗旨是增进欧亚的相互了解。为了强化欧亚纽带，坚持深入的、综合性的研究以及信息交流，EIAS 近来在印度和卢森堡设立分部。EIAS聚焦于东北亚、东南亚以及南亚地区，也包括相关地区，涵盖广泛的政策领域，以谋求为欧亚和全球决策者提供信息。我们也致力于提供学术及实践知识以影响关于欧亚关系和亚洲发展的决策过程。EIAS作为讨论，对话和思想交流的平台，聚集了所有有关的当事人，包括政策机构、外交使团、学术界、企业部门、公民社会、媒体以及其他社会的重要组成部分。

The European Institute for Asian Studies (EIAS) is a leading Think and Do Tank based in Brussels and Luxembourg, the twin capitals of the European Union, focusing on EU-Asia relations. As a policy research centre, its aim is to promote understanding between the European Union and Asia. In its effort to strengthen ties between Asia and Europe, and to ensure in-depth, comprehensive research and information exchange, EIAS recently set up an office in India. Geographically, EIAS focuses on North-East Asia, South-East Asia and South Asia, including related areas, covering a wide range of policy-related domains. By doing so, EIAS seeks to provide information to policy makers in Europe and Asia, as well as on a global scale, offering academic and hands-on expertise to bear on decision-making processes with regard to EU-Asia affairs and developments in Asia. EIAS also acts as a forum for discussion, dialogue and frequent exchanges of ideas, bringing together all relevant stakeholders from the institutional level, diplomatic missions, academia, the corporate sector, civil society, the media and all other important segments of society.

Julie Chénot 女士，“2013 欧洲文化首都：法国马赛”国际策划组织（法国）

Julie Chénot女士，“2013欧洲文化首都：法国马赛”国际策划组织（法国）

Julie Chénot, 毕业于法国高等经济与商业科学学校。1995年至2002年，驻北京并参与多项文化项目。曾先后于法国大使馆、中国YIREN文化艺术与交流中心工作，参与多项中文化合作项目，并为中国首届国际现代音乐与爵士节的重要组织者。2002年，加入Jonh F. Kennedy 表演艺术中心及华盛顿Vilar 艺术管理研究所，并参与组织中国美国节（The US Festival of China）

Julie Chénot is a graduate of Paris’ ESSEC Business School. From 1995 to 2002, she was based in Beijing, where she was involved in many cultural projects. After working for the French Embassy in China, she became co-director of the Chinese cultural agency Yi Ren Culture and Arts Exchange Centre. She then organised China’s first international modern music and jazz festivals, before getting involved in the joint celebrations of French and Chinese culture held in China and France respectively. In 2002, she joined UNESCO’s Phnom Penh office, where she advised the Kingdom of Cambodia’s Minister of Culture and Fine Arts. She then moved to the John F. Kennedy Center for the Performing Arts / Vilar Institute for Arts Management in Washington. During this time, she was involved in organising the US Festival of China.

法国马赛国际策划组织介绍 // About Marseill – Provence 2013， European Capital of Culture

“2013欧洲文化首都：法国马赛”国际策划组织，集合文化、政治、经济为一身。作为重要的国际策划组织，马赛国际策划组织乐于分享与表达不同观点，并号召当地受益者们围绕特定文化项目，进行长期的、渐进型的多元蓝图规划。包括整合罗马阿勒尔废墟、法国Salon-de-Provence中世纪建筑，伊斯特里亚半岛的工业区，Aix-en- Provence的 Martigues文化中心、法国欧巴乐的粘土、马赛的希腊文化遗产等。各种历史、现实、需求与项目为该组织的重要发展路线。

Marseille-Provence 2013, European Capital of Culture, will be a meeting point for culture, politics and the economy. Here, where we like to show our differences, stage our disagreements and glorify our contradictions, being the European Capital of Culture is a revolution that we will share with you. We have mobilised regional stakeholders around a cultural project that will unfold all year long, transforming our mosaic into a coherent picture. As you can imagine, this was no easy task. Uniting the Roman ruins of Arles, the medieval buildings of Salon-de-Provence, the industrial zones of Istres and Martigues, the cultural centre of Aix-en-Provence, the clay sector of Aubagne and the Greek heritage of Marseille was a real challenge. However, this is the miracle that is Marseille-Provence 2013 – a unique journey through our history, reality, desires and projects.

张薇女士，联合国发展署UNDP 中国新闻官 (中国)

张薇女士，联合国发展署UNDP中国新闻官 (联合国)

ZHANG Wei, UNDP (United Nations)

张薇从2004年起担任联合国开发计划署新闻官，负责联合国驻华系统和联合国开发计划署驻华代表处的传播战略规划及媒体事务。她策划并执行的公益宣传倡导活动在全国产生广泛影响，特别是2012年由联合国秘书长潘基文发起、数百万中国民众积极参与的《2032：我们期待的未来》全球活动。张薇在联合国相关的重要工作和关键议题上都是有力的倡导者，其中包括可持续发展、气候变化、社会公平和性别平等等议题。张薇曾获斯坦福大学新闻学和拉丁美洲研究双硕士学位。在加入联合国开发计划署之前，她任职新闻领域。2003年至2004年她在中央电视台担任新闻记者；1998年至2001年在新华通讯社担任编辑。

Zhang Wei has been working as Communications Officer for the United Nations Development Programme since 2004. She is responsible for shaping the overall communications strategies for both the UN and UNDP in China and media relations. During her tenure, she has developed and implemented high-impact, nationwide campaigns (e.g., The Future We Want campaign in 2012, which had a total reach of several million). Zhang Wei is a strong advocate for the UN’s mandates and key issues, ranging from sustainable development and climate change to equity and gender issues. Zhang Wei graduated with two Masters Degrees (in Journalism and Latin American Studies respectively) from Stanford University. Prior to working at UNDP, she pursued journalism, as a reporter at CCTV from 2003-2004 and at Xinhua News Agency from 1998-2001.

关于联合国开发计划署（UNDP）// About the UNDP

联合国开发计划署致力于推动人类的可持续发展，协助各国提高适应能力，帮助人们创造更美好的生活。三十多年来，作为联合国从事发展的全球网络，联合国开发计划署充分利用其全球发展经验，支持中国制定应对发展挑战的解决之道，并为中国开展南南合作和参与全球发展提供协助。联合国开发计划署目前在中国的重点工作领域为：减少贫困、善治、危机预防与恢复及能源与环境。就全球议题与南南合作而言，联合国开发计划署的重点工作领域是：加强联合国开发计划署、中国与第三方国家的三边合作；外国援助体系经验分享；应对全球与地区问题；提高私营部门参与程度；通过南南对话分享发展经验与成果。

UNDP promotes sustainable human development to help build resilient nations and to empower people to build better lives. As the UN's development network, UNDP has drawn on worldwide experience for over three decades to assist China both in developing solutions to its own ongoing development challenges, and in its south-south cooperation and engagement in global development. Domestically, our work focuses on Good Governance, Energy & Environment, Poverty Reduction and Disaster Management. In terms of global and south-south work, our focuses are trilateral cooperation in third countries, experience sharing on foreign aid systems, global and regional issues, private sector engagement, and sharing development experiences and lessons through south-south dialogue.

Andrea Cairola先生, 联合国教科文组织UNESCO代表

刀文克， EUNIC欧盟文化中心合作组织主席丹麦文化中心主席（丹麦）

Eric Messerschmidt，Director of the Danish Cultural Institute, President of EUNIC / EU National Institutes of Culture in China (Denmark)

生于丹麦。丹麦皇家美术学院设计硕士，哥本哈根大学神学与哲学学士。曾同Jan 建筑师Gehl和 Stig L Andersson（SLA建筑）、Dominique Perrault Architecture共同合作。自2005年起担任中国地区丹麦文化中心主席，促进丹麦与中国在文化领域的长期合作，其项目包括艺术项目、文化咨询、及学术交流项目。所有项目均建立在两国文化的碰撞与相互尊重的基础之上。刀文克先生在2008年、2009年、2010年、2011年、2013年中欧文化对话中扮演非常积极的重要角色。目前他为欧盟文化中心合作组织主席。

Eric Messerschmidt is born in Denmark. He is Master of Urban Design from the Royal Danish Academy of Fine Arts, Copenhagen, and holds degrees in Theology and Philosophy from the University of Copenhagen. Eric has worked with Jan Gehl and Stig L Andersson (SLA Architects) as well as Dominique Perrault Architecture. Since 2005, he is Director of the Danish Cultural Institute in China. It promotes cultural exchanges between Danish and Chinese parties aiming at long-term cooperation between institutions and professionals in the field of cultural industries. Activities span from art programs and conferences to consultancy and exchange programs for students and professionals – always with an approach funded on encounter and respect. Eric Messerschmidt has played an active role in organizing the Europe China Cultural Dialogue in 2008, 2009, 2010, 2011 and 2013. He is currently President of EUNIC / EU National Institutes of Culture in China.

关于EUNIC欧盟文化中心 // About the EUNIC

欧盟文化中心为欧洲国家文化机构的组织。成立于2006年，欧盟文化中心是文化合作领域里的领军组织。拥有26个国家的32位成员、150多个国家的超过2000个分支机构及上千地方合作伙伴。这些成员们的工作涉及艺术、语言、青年、教育、科学、跨文化对话和发展问题。欧盟文化中心以开放的合作为基础，以结构紧凑、独立和灵活管理的NGO风格进行工作。

EUNIC is the network of the European national institutes for culture. Formed in 2006, EUNIC is a recognised leader in cultural cooperation. EUNIC has 32 members from 26 countries that are based in over 150 countries with more than 2,000 branches and thousands of local partners. The members work in the arts, language, youth, education, science, intercultural dialogue and development sectors. EUNIC network is based on open cooperation and works in a bottom up NGO-style with a compact, independent and flexible administration.

关于丹麦文化中心 // About the Danish Cultural Institute

丹麦文化中心促进丹麦和中国的当事方之间的文化交流，并推广丹麦的文化。它也支持项目，旨在在中国和丹麦的文化创意产业领域内的机构，艺术家及其他专业人士的长期合作关系。丹麦文化中心的设施，有助于加强中国和丹麦之间的文化关系。

The Danish Cultural Institute promotes cultural exchange between Danish and Chinese parties and informs about Denmark. It supports projects that aim at long-term cooperation between Chinese and Danish cultural institutions, artists and other professionals within the field of creative industries.

Marc Piesbergen 先生，Modulor Planet 基金会代表（德国）

Marc Piesbergen, Modulor Planet基金会代表（德国）

Representative from Planet Modulor Berlin (Germany)

Modulor Planet 基金会、柏林BELIUS顾问、柏林INTERINSTITUT创始人、制作人，同时也是创意产业项目和业务的导师。他在柏林洪堡大学学习文化专业和工商管理，同时他也是柏林创意咨询公司Belius的合作伙伴。他在过去的几年中，作为协调员，策划师和指导者参与的国内和国际最佳实践的创意产业项目包括：柏林设计“反应堆”（Design Reaktor Berlin）, 柏林混合动力平台（Hybrid-Platform Berlin）, 柏林Modulor Planet 基金会（Planet Modulor Berlin）和Wendland绿色工作室教育集群（the Green Workshop Education-Cluster）。他和Axel Kufus一起在中国上海设计艺术学院组织了一系列的动手、设计、思考工作坊。

Marc Piesbergen is a consultant, a producer and a mentor for projects and businesses in the creative industry. He studied cultural studies and business administration at Humboldt-University in Berlin. He works as an associate partner with the creative consulting company “Belius“ in Berlin. As a coordinator, an organizer and a director, he was involved in some national and international best-practiced creative industrial projects within the last years. These projects include Design Reaktor Berlin, Hybrid-Platform Berlin, Planet Modulor Berlin and the Green Workshop Education-Cluster. In China, he had organised a series of hands-on design-thinking workshops at the Shanghai Academy of Design and Arts with Axel Kufus.

关于Modulor Planet基金会 // About the Institute

The Belius Berlin Foundation facilitates interdisciplinary artistic exchange and access to new forms of cultural perception. It works in the context of local economy, urban development, culture and creativity. Its purpose is the support of art and culture, education, citizens’ engagement and the initialisation of intercultural cooperation.

Planet Modulor Berlin is an association of small and medium sized companies from varies fields, such as merchandising, manual crafts, design, art and culture. It provides products and services for professional creatives from all fields. Thus the space acts as a broker for creativity and innovation.

Moritzplatz Berlin is the home of Belius Berlin and Planet Modulor and the cities’ hotspot for the local creative community of makers, co-workers, craftsmen, architects and designers.

柏林Belius 基金会致力于促进跨学科的艺术交流，并获得文化感知的新形式。它在地区经济，城市发展，文化和创造力的背景下进行工作。其目的是支持艺术，文化，教育，公民参与和跨文化合作。柏林行星模度（Planet Modulor Berlin）是各个领域中小型企业的联盟，这些企业的领域都不尽相同，如商品销售，手工工艺品，设计，艺术和文化。它为所有领域的专业创意提供产品和服务。因此，这一空间扮演着创造和创新的经纪人的角色。柏林莫里茨广场（Moritzplatz Berlin）是柏林 Belius 基金会和柏林行星模度的家，同时它也是本地创意社区的城市热点，在这一社区中有厂商，企业员工，手工艺者，建筑师和设计师。

Robert Eysoldt 先生，Create Berlin“创意柏林”董事（德国）

Robert Eysoldt，“创意柏林”董事（德国）

Member of the board of Create Berlin (Germany)

于1989年在建于科隆的RTL广播电视台开始其事业。1996年建立RTL的盈利中心“促销之屋”（House of Promotion），同时负责RTL大部分的节目和赛季活动。2003至2006年间任柏林环球音乐的电视主管，致力于发展电视、广播和网络行业新的内容形式。2006年任柏林的高级顾问和项目策划，并为德立设计公司实施了许多的项目。和ZEROOVERHEAD咨询公司一起，他为艺术家、设计师和设计领域的创意网络及国际跨学科的实现和交流项目提供建议。他启动了一个国际合作项目“色调”——为了黑-红-金实物开设的项目办公室。“色调”关注一切与德国自我认知，它在公众面前所表现出的独特形式相关的问题。09年至今他任创意柏林董事会的成员之一——这是一个组织世界范围内展览，讲座和活动的一个柏林设计师跨领域的网络，并促进柏林创意产业的发展。

Robert Eysoldt started his professional career at the Cologne-based broadcaster RTL Television in 1989. In 1996 he founded the RTL profit center "House of Promotion". And he was responsible for most of the RTL programs and seasonal campaigns. From 2003 to 2006 he was the director of TV at Universal Music Berlin. He put an effort in the development of new content formats in Television, Radio and Internet. Since 2006, Robert Eysoldt is working as a senior consultant and a project developer, and he has realized many projects for TRIAD Berlin. With ZEROOVERHEAD Consulting, he advises artists, designers and creative networks in the design, implementation and communication of international interdisciplinary projects. He initiated the international collaboration project “Farbwerte” - Project office for black-red-golden affairs. Farbwerte is concerned with questions surrounding German identity and its respective forms of public display. Since 2009, he is the member of the board of trustees of Create Berlin – a Berlin Designers’ interdisciplinary network that organizes exhibitions, lectures and events worldwide. Great Berlin also promotes the creative industries of Berlin.

关于创意柏林 // About Create Berlin

创意柏林——一个在柏林为创意和设计而生的跨学科倡议。创意柏林是一个为柏林所有来自不同行业分支，从时尚、产品、工业领域到图像、企业和新媒体设计领域的设计师、专业设计人员以及和设计相关的机构开放的跨学科的网络。创意柏林本身是一个项目创意和设计领域点子的连接点，它主要围绕着柏林的创意地标：作为一个面向国际的网络，创意柏林在国内外策划和组织一系列的设计项目，致力促进柏林创意产业的发展并帮助找到它自己的定位。

Create Berlin – An Initiative for Creativity and Design in Berlin. Create Berlin is an open network for Berlin designers, design professionals and design-related institutions from all segments of the industry from fashion, product, industries, to graphics, corporations, and new media design. Create Berlin itself is a point of connector, connecting creative projects and ideas in the field of design, mainly surrounding Berlin. As a network for the international world, Create Berlin plans and organizes series of projects within Germany and abroad, promoting the development of Berlin’s creative industries and help searching for its own place.

阿克曼先生，德国墨卡托基金会中国代表（德国）

米歇尔·康·阿克曼, 墨卡托基金会（德国）, 中国总代表

Michael Kahn-Ackermann, MERCATOR-STIFTUNG, China Representative

米歇尔•康•阿克曼（Michael Kahn-Ackermann），1974 毕业于慕尼黑大学汉学系。1975-77年留学中国，就学于北京大学历史系。长期致力于德中文化艺术间的相互理解与交流工作。1988年，创建歌德学院北京分院并担任院长。1994年赴莫斯科歌德学院担任东欧中亚区总院长；2000年-2006年在罗马任歌德学院意大利区总院长。12 年后再次返回中国，2006-2011 年任歌德学院（中国区）总院长。阿克曼先生同时也是著名的汉学家，尤其对当代中国文学艺术有着敏锐的观察力。1993年，他与其它同事促成最早的中国前卫艺术在欧洲展出。同时，他也从90年代初开始与中国当代水墨艺术家交往，收藏水墨画并关注中国当代水墨艺术的发展。2012年，策划德国汉堡中国当代水墨展——“另一种现代性”。他在80 年代曾翻译莫言、张洁、王朔等作家的作品，并与这些当代艺术家、作家交往密切。1980年，阿克曼出版介绍自己在中国经历的书——《门里门外》，在西方发行之后产生一定的影响。2011 年以来阿克曼做为孔子学院总部特聘高级顾问， 2012年以来他作为德国墨卡特基金会中国代表人。

Michael Kahn-Ackermann, graduated 1974 in Chinese Studies at Munich University. From 1975-77, he studied modern Chinese history at Beijing University. From then on he spent a great part of his life promoting Chinese-German cultural exchange and mutual understanding. From 1988 to 1994, he acted as the founding director of Beijing Goethe Institute, the first foreign cultural institution in China since 1949. From 1994-2000, he worked as Goethe Institute’s regional director in Moscow, and as the regional director in Rome from 2000-2006. He returned to China in 2006 as the regional director in China of Goethe-Institute. Michael Kahn-Ackermann is particularly interested in contemporary Chinese literature and art. He has followed closely Chinese cultural developments after Cultural Revolution. In the early 90s, he was one of the first westerners to help organize exhibitions of contemporary Chinese art in Europe, and to bring German artists to China. From early 90s on, he also took a particular interest in contemporary Chinese ink-art. In 2012, he curated the exhibition of contemporary Chinese ink-art “An other Modernity” at Hamburg Kunsthaus. In the 80s, he translated works of Mo Yan, Zhang Jie, Wang Shuo and other Chinese writers into German. In 1980, he published “China- Inside the outer door”, a summary of his experiences as a student in China, which had a certain impact on the perception of China in Germany. Since his retirement from Goethe-Institute in 2011, he works as special advisor of Confucius Institute Headquarters, and since 2012, he has been the Special Representative of Germany’s Stiftung Mercator Foundation in China.

关于墨卡托基金会 // About the Stiftung Mercator

墨卡托基金会是德国最大的私人基金会之一。基金会围绕着“多元融合”、“气候变化”和“文化教育”这三个主题群，目标明确地进行着社会改良实践，同时，也为公共社会政治话题进行议题倡导 (advocacy) 。墨卡托基金会下设“科学”、“教育”和“国际沟通”三个事务部，事务部在直接运行的同时，也提供项目资助。积极主动、国际化和专业性，是这三个事务部共同的工作特征。墨卡托基金会于2008年制订了基金会行动大纲“墨卡托2013”，确定了其在中国的工作方向。在正在形成的多极化世界中，中国是一个举足轻重的新兴经济体，也是一股新兴的政治力量，拥有巨大的发展潜力，因此也是墨卡托基金会工作的核心区域。国际社会的发展离不开中国。通过墨卡托基金会与中国的合作，德国可以从微观上更好地了解中国的实际情况。为此，我们持续地发展伙伴关系并加强与他们的合作。目前，墨卡托基金会在中国开展了多个项目，其中有学生、媒体和青年专业人员的交流项目，包括中德学生交流、为期两个月或一学年不等的奖学金项目等。其中部分项目涉及环境和气候保护主题。

Stiftung Mercator is one of the largest private foundations in Germany. It pursues clearly defined objectives in its thematic clusters of integration, climate change, and arts education. It achieves these objectives with a combination of socio-political advocacy and practical work. Stiftung Mercator implements its own projects and supports external projects in its centres for scienc, humanities, education and international affairs. It takes an entrepreneurial, professional and international approach to its work. China is the most important new political and economic actor in the emerging multipolar world, and is a country with extraordinary potential. Quite simply, international development is no longer conceivable without China. This demands a better and more nuanced understanding of Chinese reality, especially in Germany. This is what the foundation hopes to achieve in long-term partnerships and cooperative ventures. Currently, Stiftung Mercator is funding several different projects in China: school and youth exchanges, multiplier encounters and fellowship programmes for young managers in the areas of civil society, politics, academia and business.

Gerwin Zohlen 先生，建筑评论家（德国）

Gerwin Zohlen先生，建筑评论家（德国）// Writer and critic (Germany)

1950年生于德国，作家、批评家，柏林工厂联合会董事会成员（自2010年）。受过古人文主义教育，于海德堡和柏林完成文学和历史专业的本科学习。于柏林自由大学通用和比较文学研究院从事科学研究工作；在布伦斯维克工业大学城市建筑历史理论学院任讲师。曾出版过书籍如：《寻找失落的城市》，2002，柏林 Nicolai出版社，《新柏林的建筑师》2001, 柏林Nicolai出版社, 到目前为止，该书已再版五次。主持发行很多图书，在多家主要的专业媒体及社会媒体中发布文章及论文，如：法兰克福汇报、南德意志报、时间报、广播、电视、《建筑师》杂志、《建筑世界》杂志及Domus/Milano。

Gerwin Zohlen, born in 1950, Berlin. Writer and critic. Board Member Werkbund Berlin (since 2010). Old humanistic education, studied of literature and history in Heidelberg and Berlin. Scientific work at the Institute for General and comparative literature, FU Berlin; Lectureship at the GTAS, Technical University of Braunschweig. Publication as well as: "In Search of the Lost City" (Berlin: 2002); "Builder of the New Berlin" (Berlin: Nicolai 5th 2001, enlarged edition). He has participated in several books as an editor. He writes articles in leading trade and public media (FAZ, SZ, DIE ZEIT, Radio, TV, Baumeister, Bauwelt, Domus/Milano).

姚东梅女士，美国国家注册建筑师委员会（NCARB）注册建筑师、OMA建筑设计事务所协理、CCTV新台址大楼项目经经理（中国、荷兰）

姚冬梅女士，OMA建筑事务所中方合伙人（荷兰）

YAO Dongmei, Chinese Partner of the OMA (Netherlands)

美国国家注册建筑师委员会（NCARB）注册建筑师，OMA建筑设计事务所协理，CCTV新台址大楼项目经理。姚东梅现为大都会事务所（OMA）北京公司的总经理，负责公司大部分的中国业务。在2003年加入OMA，成为中央电视新台址项目的项目经理，负责该项目从设计到施工各个阶段的工作。她所参加的项目还包括深圳水晶岛总体规划全球竞标活动、上海外滩金融中心、深圳证券交易所和北京图书大厦等。加入OMA前，姚东梅曾经在纽约工作，并获得纽约注册建筑师名衔。在美工作期间，她曾参位于肯尼迪机场的美国航空公司总部的设计。

Dongmei Yao, Registered architect of New York State in USA, Associate of OMA, Project Manager of CCTV New Site project. Dongmei Yao is now the general manager of OMA Beijing office, and is in charge of most business of OMA in China. Since 2003 when she joined OMA as the Project Manager of CCTV New Headquarter, she has been working through the design phase to construction phase. Meanwhile, she has been participating most of business in China, including International Solicitation for Shenzhen Crystal Island Master-plan, Shanghai Global Financial Center, Shenzhen Stock Exchange and Beijing Book Building etc. Before joining OMA, Dongmei Yao used to work in New York, and is entitled with NY registered architect. During her experience in the USA, she used to contribute to the design of Airline USA terminal of the JFK airport.

关于OMA建筑事务所 // About the OMA

OMA是一家世界前沿的国际合伙人事务所，专注建筑设计、城市规划及文化分析。OMA在超过30年来，一直致力设计和建造大楼以及规划方案。事务所目前由七位合伙人领导，包括雷姆‧库哈斯(Rem Koolhaas) 、大卫‧希艾莱特(David Gianotten) 、重松象平(Shohei Shigematsu) 、Ellen van Loon、Reinier de Graaf、Iyad Alsaka 以及管理合伙人Victor van der Chijs ，在鹿特丹、纽约、北京及香港均设有办公室，并将于多哈成立新办公室，员工总数近340名。AMO是OMA建筑实践的对应机构，是一所研究工作室，提供顾问服务，工作范畴超越传统的建筑领域，涉猎媒体、政治、社会学﹑可再生能源、科技、时尚、艺术﹑策展﹑出版和设计等。OMA 亚洲于2006 年在北京成立。北京办公室目前主理毗连北京中央电视台新台址主楼的CCTV电视文化中心项目。OMA香港办公室于2009年成立，主理台北艺术中心、香港的珠海学院及深圳证券交易所项目。 OMA亚洲项目由大卫‧希艾莱特领导，具不同规模，涵盖室内设计以至总体规划。

OMA is a leading international office practicing architecture, urbanism and cultural analysis. Dedicated for over 30 years to the design and realization of buildings and masterplans, OMA is led by seven partners – Rem Koolhaas, Ellen van Loon, Reinier de Graaf, Shohei Shigematsu, Iyad Alsaka, David Gianotten and Managing Partner Victor van der Chijs – and sustains an international practice with offices in Rotterdam, New York, Beijing, Hong Kong and soon Doha, with around 340 employees. AMO, the counterpart to OMA’s architectural practice, is a research studio and advisory service working in areas beyond the traditional boundaries of architecture, including media, politics, sociology, renewable energy, technology, fashion, art, curating, publishing and design. OMA Asia was established in 2006 in Beijing. The Beijing office now oversees the construction of the Television Cultural Centre adjacent to the CCTV headquarters. OMA’s Hong Kong office, established in 2009, oversees the Taipei Performing Arts Center, Chu Hai College of Higher Education in Hong Kong and the Shenzhen Stock Exchange. Projects by OMA Asia, led by David Gianotten, vary in scale, ranging from interior projects to buildings and master-plans.

Sol Madridejos 先生，SPAINLAB（威尼斯建筑双年展西班牙国家馆策划）、马德里欧洲大学建筑系、S.M.A.O（西班牙）

Sol Madridejos SPAINLAB教授，建筑师（西班牙）, Professor and Architects (Spain)

Sol Madridejos 和 J. C. Sancho于1982年开始了创建其独立的建筑项目平台：SANCHO-MADRIDEJOS建筑工作室。J. C. Sancho是一位建筑博士，同时也是马德里建筑学院(E.T.S.A.M) 项目学院的全职教授。Sol Madridejos 是一位建筑师及马德里欧洲大学（Universidad Europea de Madrid）建筑学院的项目讲师。他们的专业活动既是由对造型艺术（绘画、雕塑）和视觉艺术（摄影、影片、动漫）的兴趣发展而来，也受思想和理论领域的影响。所有的这一切带领他们以“实验室“的方式走过20余年的工作进程。这一进程是由思想-主题-项目的广阔蓝图所维持的。

Sol Madridejos and J. C. Sancho began their professional activity as SANCHO-MADRIDEJOS ARCHITECTURE OFFICE in 1982. J. C. Sancho is a PhD Architect and Chair Professor in the Projects Department of Madrid School of Architecture (E.T.S.A.M). Sol Madridejos is an Architect and Projects Lecturer in the School of Architecture of the UEM (Universidad Europea de Madrid). Their professional activity has been developed from a framework of interests coming as much from the plastic arts (painting, sculpture) and the visual arts (photography, video), as from the realm of thinking and theory. All of this has led them through a working process – in the way of a laboratory – along the last 20 years. A process sustained by a wide map of ideas-themes-projects (as are folds, the tone of space or the void), on which they focus their interests involving space and its perception.

关于西班牙实验室 // About the SPAINLAB

在与AC/E和AECID的合作之下，开发部门（Ministerio de Fomento）帮助促进SPAINLAB的发展，SPAINLAB提出了一个倡议，强调研究过程在建筑领域的重要性和创造一个机构性、专业性、学术性和社会性框架的需要，并以此给予需要的人支持。Debora Mesa和Anton Garcia-Abril是这个项目的负责人，这个项目为西班牙建筑的创新和未来提供了一个响亮而又积极的信息。他们是第13届威尼斯双年建筑展中西班牙馆的策展人，此次双年展将是他们的首次组。在西班牙馆中汇集了七组西班牙建筑师的一小部分作品，这些建筑师通过他们的行动展示了西班牙建筑师所具有的潜力和天分，他们强烈地捍卫自己创新的思想，在流行和时尚之外建立了属于自己的世界，并为他们自己的世界开了一个并不刻意的窗口，透露他们自己思想、方法的准线，并拥有着超越完成作品的建筑能力。在物理的安装之外，SPAINLAB以一系列的不同平台实现自己的展出，这些平台将收集并扩展展馆的内容，最重要的是它会比展览的寿命更长，并向社会传递出自己的信息。

The Ministerio de Fomento, in collaboration with AC/E and AECID, promotes SPAINLAB, an initiative that asserts the vital importance of research processes in architecture and the need to create an institutional, professional, academic and social framework to give them support. Debora Mesa and Anton Garcia-Abril are the responsible for this project that launches a resounding and optimistic message in favor of innovation and the future of Spanish architecture. They are the curators of the Spanish Pavilion at the 13th Biennale of Architecture in Venice where SPAINLAB will have its first setting. The pavilion brings together the work of a small sample of 7 teams of Spanish architects who clearly express through their actions the potential and talent of Spanish architecture, who strongly defend their vocation for innovation, and who have built personal worlds outside styles and fashions; and opens an indiscreet window to their own worlds, revealing lines of thought, methods and building capacities transcending the finished products. Besides the physical installation SPAINLAB is implemented through a series of different platforms that will collect and expand the contents of the pavilion and will outlive the exhibition to transfer the message to society.

音乐家：冯满天，中央民族乐团

【特别推荐】

冯满天：

集作词，作曲，演奏于一身，并有着丰富舞台演出经验的音乐人。冯满天接受的是传统民族器乐演奏训练，熟知中国民族器乐演奏的韵味，后来又在摇滚乐、流行音乐圈中磨练，将这些风格技巧融入中阮的演奏中。

1969年从师于父冯少先学习月琴。1978年考入中央民族乐团，担任月琴独奏演员兼中阮演奏员。1982年获文化部首届民族器乐观摩大会表演奖。1983年出版个人演唱专辑“再会1981”。1984年在北京创组“白天使摇滚乐队”，担任主唱。2000年在哈尔滨创立“冯少先艺术学校”并身兼校长一职。

2005年受邀前往香港城市大学讲学。2006年7月在北京参加中央民族乐团“盛装民乐”演出，同年9-10月应邀在台湾的高雄，台中，员林，南投，桃园五城市巡回演出，返场达到五次，创所有地区民族器乐演出的票房纪录。2007年5月与瑞士巴塞尔音乐学院音乐家在北京21世纪剧院、广东省河源市合作演出，11月应马来西亚邀请，与父冯少先一同出访，并举行了父子独奏音乐会，并首演了小阮协奏曲《创业》。

2008年1月应邀与黑龙江省民族乐团合作演出了中阮弹唱《家》。2009年成功研制“仿唐隐孔中阮”获四项国家专利及台湾五项专利。2010年4月为新版红楼梦配乐，8月参加由文化部主办的“哈尔滨之夏国际比赛”，11月6日应邀赴新加坡参加“淡宾尼阮协会成立十五周年以及丁晓燕阮族协会成立十周年音乐会”。

2011年1月16日与冯少先合作，参加由文化部主办的新春晚会，7月1日参加文化部主办的“艰难辉煌”音乐会，8月随中央民族乐团出访欧洲，瑞士，德国（萨尔斯堡音乐节），奥地利，意大利等国。2012年7月

应邀参加新竹国乐节“丝竹爵士疯”音乐会，9月参加由中央政府主办的香港澳门回归音乐会及金佛爵士乐团九门爵士节。

文慧（右）生活舞蹈工作室（中国）

生活舞蹈工作室

文慧：编舞，舞者。也做纪录片和装置作品。13岁开始在云南省文艺学校学习舞蹈。1989年毕业于北京舞蹈学院编导系。1994年到美国纽约学习现代舞。同年在北京创建《生活舞蹈工作室》。1997至1998年获美国亚洲文化基金会 (Asian Cultural Council ) 奖金，到纽约研修现代舞及戏剧。1999至2000年参加美国著名当代编舞家Ralph Lemon 舞蹈团《地理三部曲》的创作演出。从1994年开始主要在北京做当代舞蹈剧场。

WEN Hui, choreographer/dancer, Documentary filmmaker and Installation artist。born in Yunnan, China. She started her professional dance training in Yunnan Art School when she was 13 years old, and her dance study in the school was four years. After worked as a dancer and dance teacher for years, she studied the choreograph in the Beijing Dance Academy in 1985, and graduated in 1989. And then Wen worked in the Orient Dance & Song Company in Beijing as choreographer. Since 1994, she found Living Dance Studio with Wu Wenguang in Beijing, and she worked for all performance works as choreographer. In 2005, she found an independent art space CCD Workstation in Beijing with Wu Wenguang.

生活舞蹈工作室 // The Living Dance Studio:

生活舞蹈工作室是在北京的一个独立演出创作团体，1994年由文慧和吴文光创办，和不同的舞蹈、戏剧表演者、各类视觉艺术家、音乐人、作家包括非职业表演者合作，试图运用舞蹈、戏剧、包括与各类视觉艺术交融的剧场方式，表达和当代现实生活有关的故事和经验。所有作品均首演于国内剧场，如广东现代舞团小剧场、北京人艺小剧场和北京七色光儿童剧场。作品曾应邀演出于欧洲国际艺术节或舞蹈节，如阿姆斯特丹夏天舞蹈节、维也纳舞蹈节、苏黎士国际戏剧节、巴黎秋天艺术节等。《身体报告》曾于2003年在美国纽约、芝加哥、华盛顿、波特兰大等六个城市巡回演出。《身体报告》曾获得2004年的苏黎士国际戏剧节ZKB Award奖。

The Beijing based dance theatre company the Living Dance Studio (LDS) was founded in 1994 by choreographer Wen Hui and documentary maker Wu Wenguang. Before starting this company together, both artists were already well-known and respected for their achievements in their respective work fields.

Living Dance Studio (LDS) is unique in China in various ways:

in the fact that they are an independent company, which means they get no funding from and are not facilitated in any other way by the Chinese government

in their way of working. Their productions bring together dance, video, stories, sets, lighting and music to document routine and personal acts of life in modern China. As the LDS aims at stimulating the production of contemporary dance in China, they invite different dancers, actors, writers, musicians, visual artists and filmmakers to collaborate with them on each production. The artistic process of creating a piece is just as important as the result.

in the themes they address in their work. The LDS makes very personal work that encapsulates life in China with a documentary’s eye. Wen Hui: “We want to focus on the true daily life and show what we are feeling and what is going on now. That is why we named the company 'Living Dance'. We have to give people questions, not answers".

田戈兵纸老虎剧团（中国）

田戈兵独立戏剧导演、策展人/纸老虎工作室创始人

Tian Gebing， Independent theater director, curator /founder of Beijing Paper Tiger Theater Studio

出生于陕西省，毕业于中央戏剧学院，他从80年代末开始参与北京的独立剧场活动，1997年创立了纸老虎工作室。田戈兵自1998年起创作的一系列戏剧作品，都是由现实生活中的素材构成，以残酷幽默的“搅局”姿态，消解颠覆着官方的、经典的、商业的戏剧。他很早就在尝试将视觉艺术和戏剧场景或非戏剧场景混合在一起，把深思熟虑的剧本与即兴的、非专业的表演结合在一起呈现给观众。作为一位戏剧作家、导演、自由撰稿人以及策展人，他和他的纸老虎作品出现在上海、北京、深圳、香港、新加坡、东京、柏林、安特卫普和苏黎世的舞台上，还有很多演出直接在街头上发生。目前，田戈兵正带着他的代表作《朗诵》在荷兰6个城市做大型巡演，之后他将前往慕尼黑，在著名的“慕尼黑室内剧场”排练2013年10月在此首演的大型作品《群众》。

Tian Gebing was Born in ShannXi province and graduated from Central Academy of Drama. He was involved with the independent theater activity in Beijing from the late 1980s, and in 1997 he founded Beijing Paper Tiger Theater Studio. Since 1998, Tian Gebing has created a series of theatrical pieces by taking materials from the reality in China, using humor and cruelty to disturb and provoke the official, classic and commercial theater. And ever since his early works, he tried to mix visual arts with theatrical/non theatrical scenes, also to combine deeply-thought-through script with improvisation and non-professional performance to show to the audience. As an independent dramaturge, director, writer and curator, he has been performing on stage in Shanghai, Beijing, Shenzhen, Hongkong, Singapore, Tokyo, Berlin, Antwerp and Zurich, moreover, some of his pieces happen directly on the streets. Currently, Tian and his team from the Beijing Paper Tiger Theater Studio is touring in 6 cities in Nertherlands for his presenting work , later he will be in Munich to do rehearsal in Münchner Kammerspiele, for his large theatrical research project , which will be shown there as premiere in October 2013.

关于北京纸老虎戏剧工作室// About Beijing Paper Tiger Theater Studio

北京纸老虎戏剧工作室由田戈兵于1997年创立。田带领着几位艺术家以及一些来自不同文化领域的人们，把戏剧作为一种按钮，或者说是一个理由，由此进入现实环境，让社会行为与剧场行为进行交流和置换，以此来解放剧场和观众。纸老虎远离时代的喧嚣，坚持用自己的语言在舞台上表演。它粉碎了来自现实社会的美丽谎言，用残酷和幽默的戏剧来颠覆这个受苦的世界。2011年纸老虎建立了自己的剧场空间，很快就成为北京一个独特的戏剧舞台。他们主持着一个松散的戏剧节，“装傻”，以此支持本地的以及来访的剧作家、舞者和戏剧团队进行他们的独立创作。

纸老虎的早期作品包括《北京蓝》，《这个杀手不太冷及高雅艺术》以及《酷》。 2009年到2011年他们在比利时安特卫普的芒提剧场做艺术驻地项目，创作了安特卫普三部曲——《安特卫普之腰》、《误读》和《安特卫普的群众》。最后一部作品正在发展为一个大型戏剧研究项目《群众：非常高兴》。这个项目受到北京歌德学院的支持，与德国慕尼黑室内剧院合作，将于2013年十月在那里首演。

Beijing Paper Tiger Theater Studio is an independent theatrical group founded by Tian Gebing in 1997. Tian, together with a few artists and people from different culture background work together to take theater as a button or excuse to enter the living situation, and to exchange social action with theatrical action, so to liberate theater and the audience. Paper Tiger stands far away from the noise of the era to speak its own language on the stage. It crushes the beautiful lies from the social reality, and provokes the suffering world with its cruel and humorous performance. In 2011, Paper Tiger established its own theater space and it soon became a unique stage in Beijing to support local and visiting artists to perform their own works, by running a loose-style festival called “Play the Fool”. The early works of Paper Tiger Theater Studio includes “Beijing Blue”, “The Killer Is Not Cool & High Art” and “Cool”. From 2009-2011, with the art residency program in Monty Theater, Antwerp, Tian Gebing created “Antwerp Trilogy”, which includes “The waist of Antwerp”, “Misreading” and “The Mass of Antwerp”. The last piece of the trilogy is now being developed into a large theatrical research project called “The Masses: Very Happy”. It is supported by The Goethe Institute, Beijing, and in collaboration with Munich Kammerspiele. The premiere is in October 2013.

[特别展览]：即物即境 / 大舍 // Special exhibitions, On the Immediacy of Objecthood and Situatedness of Architecture

地点：Studio-X

开幕：2013年11月30日下午4点

展期：2013年11月30日-12月22日

“物”与“境”在建筑的语境中，或者可以这样来理解:“物”对应着建筑的实体、或称之为建筑本身，一种被存在的状态；“境”对应着由实体成就的一个空间及其氛围的存在，是存在的一种状态。在建筑设计中，总是由“物”来完成“境”的存在，而同时也是最终的“境”成就了建筑之所以为“物”。这样的理解证明了我们一直以来对建筑本体的压倒性的关注。显然建筑学还与更多的东西相关，社会的、地域的、城市的、传统的、文化的，等等。而我们关注的是：在遭受了这诸多因素的影响之后，我们如何回到建筑本体？

不能否认，我们的实践与我们对所在的“江南”这样一个地域文化的理解密切相关，无论自觉或者不自觉，我们之前大部分的建筑都像一个自我完善的小世界，有很多关键词可以描述它：容器、边界、迷宫、路径、内向性、时间性、离、诗意...... 等等，这个小世界的原型就是“园”。在构筑这个小世界的过程中，抽象然后再现是我们常用的一种回到本体的方法，或可称之为“即境即物”。然而在当下的境况中，我们也必须寻求建筑自主的更多的可能性，我们注意到专注于造物在这个浮躁社会中所具有的批判性力量。在国内大量性的建设当中，建筑学已太多受到外延的影响而少于寻求内在的质量。“即物即境”，对建筑学本体性建造的讨论或实践立场仍有积极意义，就像简单的架构与覆盖也可以因为与我们身体或脚下大地间的直接性关系而构筑永恒。

那么，我们还相信永恒吗？

We borrow two terms from Philosophy——“Objecthood” and “Situatedness”——and relocate them into our current discourse of architecture. By “Objecthood”, we mean any entity or building once built or to be built, into a state of fulfillment; whereas by “Situatedness”, we mean a milieu or atmosphere full of potentiality for such a fulfillment.

Through design, we think, it is the objecthood of a project that ought to explore the potentiality of a situation, which in return forms an interwoven web for buildings and other entities. This observation testifies our long lasting and overwhelming concern to the ontological questions of building. Obviously, to build always opens to multiplicity of things, be they social, regional, civic, conventional or cultural factors. Our main concern has been: after all these implications, can we still maintain building both as an action and an object in itself?

It goes without saying that our practices have been deeply entrenched by our understandings of and lives within the geo-cultural Jiangnan, consciously or subconsciously. All of the built projects of Deshaus highly resemble to a self-sustaining cosmos, whose characteristics can be described by a string of key words: containment, boundary condition, maze, path, introvertedness, temporality, Li (detachment), poeticness, etc.. In fact, same words are often applicable to these literati gardens in Jiangnan. In doing so, we have experienced shuttling processes between abstraction and concretization, or to be rephrased, between the objecthood of a building through exploring the potentiality of a situation and the situatedness of a site that a building eventually has to return.

We tend to believe that through our concentration on making building more situated, while seeking the much-debated architectural autonomy, we could form a critical response to the current superfluous society. Architecture in China has been burdened for too long and too much of things extraneous, which inevitably weakens its disciplinary strength. To care about the immediacy of Objecthood and Situatedness of Architecture, to us, holds a positive value in our practices. After all, we humans still perpendicularly and directly put two feet on the earth. And that is why even the simplest gesture of support and shelter can create a sense of permanence.

But, is there any sense permanence of architecture in the near future?