李光耀去世后,抛开众多讴歌这位伟大政治家的颂词,在我心头最挥之不去的是一句“城市国家的生存经历不尽人意。”北京与城市国家截然相反,它是一个幅员广阔的内陆城市,物资丰饶以支撑其艺术与文化等各类消费。然则为何北京眼下被风传为整个大中华区艺术界里最无趣的地方?这一期是一篇关于北京的状态报告。尽管仍被誉为中国艺术之都,但北京却已有些偏离轨道;对此,我们想就其因由一探究竟。《艺术界》也是一部分的症结所在:追着读者和撰稿人的兴趣,我们用于思考来自中国以外的艺术所投入的时间和我们穿过彩虹路逐家逛画廊所消耗的时间差不多。现在的艺术界大抵就是这么运作的。约莫每星期我们都收到消息说又一位策展人或画商要迁 After Lee Kuan Yew’s death, aside from the eulogies of many great Acura politicians, the most lingering part in my mind is “the experience of living in cities is not satisfactory.” Beijing, in contrast to urban countries, is one A vast inland city, abundant materials to support its arts and culture and other consumer. However, why is Beijing now being the most boring place in the entire Greater China art scene? This is a status report on Beijing. Although still regarded as the capital of Chinese art, Beijing has somewhat deviated from its orbit; for this reason, we would like to examine its causes. Part of the crux of the “art world” is that, chasing readers and copywriters’ interests, the time we spent devoting ourselves to thinking about art from outside China was about the same as the time spent crawling through galleries on Rainbow Road. Now the art world is probably working this way. Every week, we received news that another curator or art dealer had to move