Text | Zhu Ronglin
The author is a regional planning consulting expert of the National Development and Reform Commission, former director of the Shanghai Development Research Institute of the Development Research Center of the State Council, a professor of the Graduate School of the Chinese Academy of Social Sciences, a professor and doctoral supervisor of Shanghai Jiao Tong University, and an honorary president of the Jiaxing Development Planning Institute.
Qing Li Qingzhao has in "Wuling Spring, Spring Festival Gala" that "the wind lives in the dust, the fragrant flowers are exhausted, and I am tired of combing my hair day and night." Things are people, and they don't have to do anything, and tears flow first. It means that although the flowers are withering, they still leave the fragrance of the flowers in the red dust, which is sad to think about.
Figure 1, the author took a photo taken by the author in Master Chen Yifei's studio at No. 2, Lane 210, Tianzifang, Shanghai
A year ago, I missed Chen Yifei in the article "Expert Boundaries and Life Symmetry". With the concept of "big art", this famous oil painter has made pioneering achievements in film, costumes, environmental design and many other aspects, and has become a generation of cultural celebrities and is well-known at home and abroad.
His classic works such as "Ode to the Yellow River", "Occupy the Presidential Palace" and "Pacing" are well-known at home and abroad; His "Bridge" has been selected by the United Nations as a First Day Cover several times. Excellent works and the creative ideas contained in them have had a positive impact on the development of art in China and the world, and have enhanced the international status of Chinese culture.
In order to promote and inherit Chen Yifei's creative spirit and conceptualization concept, Chen Yifei's studio was forced to close its opening due to a lease dispute caused by the master's ancient works. In the court of the lawsuit, what is being performed is a confrontation of the contemporary Chinese cultural and artistic resources at its peak.
I wondered a lot of feelings: the world-recognized high-quality cultural resources could not be optimally allocated in the studio during the master's lifetime, which was too far from the idea of Shanghai's cultural development orientation as an international metropolis; The owners of the houses that sprouted in Shanghai Tang would be so reckless as to raise the threshold for renting and sweep them out; The Shanghai Tang Lawyers Competition, which has a relatively advanced sense of legal principles than its domestic counterparts, accepts the case indiscriminately, and it seems that there has never been Chen Yifei in the minds of the parties; Even if there were, this person seemed to be no different from a normal man in the market.
For this reason, the block in my heart is in the call sign:
The protection and utilization of the former site of Chen Yifei's studio is a respect for the history of the development of Shanghai's cultural and creative industries. There are three reasons for this:
First, it is conducive to strengthening the development orientation of Tianzifang Cultural and Creative Park. The vitality of Tianzifang lies in its pioneering trend, innovating the allocation mode of special resource structure in the central urban area of the city, and adhering to the development orientation with the cultural industry as the main characteristic. As a result, it has led the transformation of urban industries in Shanghai and even in the whole country. In the positioning of this new industry, one of the leading figures in cultural creativity is Master Chen Yifei.
The former site of his studio is located in Tianzifang Cultural Industry Park, No. 2, Lane 210, Taikang Road, as a space where a senior artist has left a creative footprint for ten years, which is not only an important pillar of Tianzifang's achievements as one of the top ten cultural and creative parks in mainland China, but also a monument in the hearts of admirers in Shanghai, the whole country, and even the world.
Together with Tian Zifang, she was selected by the United Nations as the only Chinese case study and included in the "Shanghai Handbook - Guidelines for Sustainable Urban Development in the 21st Century", a guiding text for urban sustainable development for all member states. Therefore, adhering to the development orientation of the cultural industry is undoubtedly sticking to the position of Shanghai's creative industry.
Picture 2: Chen Yifei created in Tianzifang Studio
Second, it is conducive to the inheritance of excellent culture. The existing "Chen Yifei Memorial Hall" is located in Zhenhai District, Ningbo City, Zhejiang Province, Chen Yifei's hometown, and has been opened on the third anniversary of Chen Yifei's death. This is a kind of nostalgia for the people who recognize their ancestors and return to their ancestors, and it has little to do with the artistic career of the museum owner and his mental journey.
Chen Yifei once embarked on the difficult journey of part-time work and study in the United States at his own expense with 38 US dollars, and in the first year, he won the qualification to exhibit works in three United States museums with his artistic accumulation in Shanghai. Different from the memorial hall, the whole value of Chen Yifei's studio lies in the dynamic and tangible restoration of the master's creative talent and creative inspiration, which not only records the work trajectory of the master's most mature ten years of art, but also becomes a historical carrier for the realization of his creative ideas, which deeply inspires the descendants of Yan and Huang.
Shanghai is the place where this master started to learn art, devoted himself to research, and laid a solid academic foundation. In other words, the offshore "anchorage" of this master who went abroad and became famous on the other side of the ocean is not in Ningbo Port, but in Shanghai Tang. Behind the unique visual Chinese cultural information conveyed by Chen Yifei's works to the world is the Shanghai-style characteristics of the Chinese cultural soil. Chen Yifei completed the most brilliant life of his artistic career in Tianzifang Studio, where he took the lead in putting forward the concept of cultural and creative industries, and initiated and initiated the first cultural and creative industry forum in Shanghai.
Under his influence and encouragement, it attracted and brought together a large number of artists and celebrities to settle in, making Tianzifang worthy of the name of the first licensed creative industry park in Shanghai. As a cultural landmark in Shanghai and a business card for emerging industries, Tianzifang once became the pride of Shanghai at the turn of the century. Its effectiveness is largely due to Chen Yifei's painstaking conception and creative achievements in the studio. Many well-known art treasures have been born here, including the "Sundial" standing at the new landmark of Pudong Avenue in Shanghai, the giant sculpture "Oriental Girl", and the film "People About Dusk", which was selected for the Cannes Film Festival in France, providing heirlooms for future generations to study the culture of the Shanghai School.
Third, it is conducive to the coordinated development of culture, tourism and commerce
The cornerstone of cultural, tourism and business synergy lies in cultural tourism. The advantage of Shanghai's tourism resources is not in the landscape, flowers and birds, nor in the allusions to historical sites, nor in the Haitian Buddha country, but in the advantages of the opening of the port culture, the concession culture and the three waves of modern immigration. The former site of Chen Yifei's studio has unique cultural brand tourism resources, which not only leaves the footprints of the master to write history and create art treasures, but also leaves anecdotes about the artist's interaction with society, building an interactive platform for art to originate from life and be higher than life.
Therefore, the protection, development and utilization of the former site of Chen Yifei's studio is not only a commemoration and inheritance of Chen Yifei's artistic contributions, but also a continuation and sublimation of Tianzifang's overall cultural and creative industry positioning. People can be enlightened in travel, taught in communication, and benefited from shopping.
Second, it is necessary to recognize the conservation value of the former site of Chen Yifei's studio from a height that goes beyond the general leasing business
The development of Tianzifang has entered the track of social consensus, and its rise and fall of glory and disgrace has long exceeded the scope of its own quality.
The society's objective evaluation of Tianzifang is based on the following basic points:
First, the historical role of Tianzifang has long been recorded in history, and the universality of its radiation effect has become a characteristic of Shanghai culture.
Second, the historical area of its operation platform is still well preserved, and has become one of the few rare and unique landscapes left after Shanghai's continuous large-scale urban renewal and housing expropriation, and is a specimen of the integration of economic, social and cultural effects of mainland urban management.
The third is that the park once deviated from the deviation of the internal value orientation of the positioning management, and the changes in the external business environment, but the leading factor is still Tianzifang, and its development orientation deviates from the dominance of the cultural industry. Among them, the recognition of the historical status of Master Chen Yifei is the key.
The influence of a historical figure has a historiographical dimension, transcending the physiological life cycle of the figure and entering the limit of the artistic life. The infinite artistic life of an excellent artist lies in the professional recognition of the value of his inherited cultural resources by future generations and the efficiency of its allocation. The connotation of excellent cultural resources includes not only the terminal art products of the masters, but also the creative process and carriers of the master's process products. For Master Chen Yifei, his precious process products are mainly stored in his former studio.
At present, the top priority is to solve the lease renewal of the old site of Chen Yifei's studio as soon as possible, and shorten the time dimension of the studio's opening and leaving a "vacuum" of value to the minimum. Chen Yifei's studio, which was closed due to the court's "judgment", reflects the distorted underestimation of social wealth, and people will compete to distort the lease of a house that has precipitated and condensed ten years of cultural and historical value as an ordinary housing lease dispute.
Behind it is the conflict of the positioning concept of the cultural and creative park: in the eyes of the park managers, is the positioning of the development of the cultural and creative park dominated by the cultural and creative industry based on social benefits, or is it based on the commercial profits of high rents? If the latter is a hero, then the definition of Tianzifang's cultural industry has been subordinated to the commercial profit positioning of the non-cultural and creative park.
Those with a little business vision cannot deny that the former site of Chen Yifei's studio is a purely non-profit organization, but the "landlord" competes to increase the renewal price of the lease with a business house. As everyone knows, the landlord's focus on raising prices is not based on the appreciation of the house, but the ten-year appreciation space created by Master Chen Yifei. In the future, once the user owner changes, the appreciation space of the house will be gone. The fact of sky-high prices not only reflects the deviation between Tianzifang Cultural and Creative Park and positioning management, but also reflects the loss of the management positioning of Tianzifang Management Committee.
Figure 3, a panoramic view of Chen Yifei's studio
The serious consequence of this change in the lease contract of pure commercial behavior will be the desecration of the original appearance of the old site of Chen Yifei's studio and the historical and cultural value it precipitates, and it is also a kind of disregard for the protection and inheritance of cultural heritage.
The result of the original intention of Tianzifang is to continue the urban context, retain the background color of the city, and carry rich artistic value, cultural connotation and historical precipitation. Its success is attributed to the correct development orientation of Tianzifang, with the help of the mechanism of market allocation of resources, effectively taking into account the social and economic, incremental and stock, history and future.
It should be reiterated here that the establishment of the former site of Chen Yifei's studio has enhanced the value of the renovated old factory building, which is a kind of cultural compound interest, rather than the inherent gold content of industrial heritage. In other words, even if a third party assesses the rental price, it is not based on the difference in its construction area and location, but on the huge social influence of Chen Yifei. The huge customer flow and social attention brought by this painter are well known to the owner, Shanghai Digital Industry (Group). Based on this, I suggest that a multi-faceted approach should be adopted to protect Chen Yifei's studio in order to meet the expectations of the majority of admirers.
In Figure 4, Chen Yifei's sculpture "Sundial" created in his studio is now located on Pudong Avenue in Shanghai as a landmark landscape.
The pluralism of Chen Yifei's studio's value utilization forms and its dominant value orientation are the same, that is, taking from the society and serving the society.
The first form is government-led. The government has provided a certain amount of special cultural funding to ensure that the former site of Chen Yifei's studio is open to the public free of charge, and is used for internal data collection, collation, exhibition arrangement, research and renovation of facilities.
The second form is the managed type. The connotation of the management and operation of enterprises entrusted by the government can make full use of the advantages of Tianzifang operating company, and adopt the mode of resource integration, fund co-ordination and special funding to solve the capital gap for the daily operation of the old site of Chen Yifei's studio.
The third form is the social recruitment type. Relying on the social prestige and influence of many famous artists in Shanghai, it attracts social sponsorship and funding by holding training lectures, art forums and organizing exhibitions, exhibitions and other activities.
The fourth form is the targeted funding type of enterprises. Through the form of "private office assistance", the introduction of social capital for protective development, supplemented by certain government support, to jointly promote the development and utilization of the former site of Chen Yifei's studio.
The trajectory of social progress often stems from changes in costs and benefits, which create an imbalance in the system, and then induce people to promote the rearrangement of the system in pursuit of potential profit opportunities. This is not only the original intention of Tianzifang Cultural and Creative Park, but also the destination of its future development, and its trajectory and chain of function have always been linked to a historical figure, who is Chen Yifei.
Nearly 30 years of appreciation show that once the carrier of Master Chen Yifei's artistic life is settled, the value-added direction of the carrier is: the city shines brightly, and the asset appreciation is value-added. As the famous painter and critic Chen Danqing commented on Chen Yifei: "No one can replace him." ”
The recognition of Chen Yifei's importance and influence in the art world can be seen from Chen Danqing's evaluation. Chen Yifei's departure not only deprived the magic capital of Shanghai of an important topic, but also deprived China's art world of an irreplaceable figure. Therefore, the theme of this article is not so much about a property lease dispute as it is about retaining this irreplaceable historical figure on the site of Chen Yifei's studio.
The importance of retaining this great master is not recognized and accepted by everyone, because when the works of those who have left a heavy footprint in history are often presented to the society with unique academic talents, alternative professional visions, high sensitivity intuition, and unconventional techniques and language, the remoteness of their thinking and the depth of their wide angles are not appreciated and accepted by all viewers (listeners). Such as Vincent· Van Gogh's paintings, Emily · Dickinson's poems, John · Sebastian · Bach's songs, Socrates' Questions, Franz · Kafka's novels, etc.
Picture 5: Chen Yifei painting in Zhouzhuang, an ancient town in Jiangsu
I am the author of "Interpreting Tianzifang" (Shanghai Wenhui Publishing House, published in November 2009).
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