香奈儿文化基金会 X 上海当代艺术博物馆 PSA 「新文化制作人」第四季《从边缘开始收集》

作者: Winniekong

代理商: TBC

#活动预告 #活动现场 #活动管理 #活动执行 #展示管理

项目品牌： CHANEL 香奈儿

项目行业：娱乐及文化

项目日期： 2026-07-16 11:00 2026-10-08 17:00

项目地点：上海上海当代艺术博物馆

项目名称：香奈儿文化基金会 X 上海当代艺术博物馆 PSA 「新文化制作人」第四季《从边缘开始收集》

香奈儿文化基金新文化制作人第四季《从边缘开始收集》

2026年07月16日-2026年10月08日

上海上海当代艺术博物馆

项目现场

2026年7月16日至10月8日，香奈儿文化基金与上海当代艺术博物馆（PSA）联合推出的「新文化制作人」第四季《从边缘开始收集》于PSA三楼嘉柏丽尔·香奈儿空间正式启幕。作为香奈儿文化基金2021年启动后首个落地亚洲的长期项目，「新文化制作人」历经四季深耕，从手工艺、建筑、剧场逐步拓展至本季「文本与艺术」的跨界命题，延续着品牌自嘉柏丽尔·香奈儿时代便根植于DNA的艺术赞助精神——从资助斯特拉文斯基《春之祭》到与扎哈·哈迪德合作流动艺术展馆，香奈儿始终将文化资本视为品牌叙事的核心支点。

本季展览由李雅伦、钱梦妮联合策展，以美国作家厄休拉·勒古恩的「载物袋理论」为空间概念，在极简素白与原木肌理的沉静氛围中，以环形展架将嘉柏丽尔·香奈儿空间划分为「边缘」与「内部」两个层次：外围铺陈深度新闻报道与小说文本，内环则散落陈列31件/组跨越当代艺术、建筑、文学与影像领域的作品。这种开放式迂回动线打破了传统美术馆的线性观展逻辑，观众在绕行、停留与折返中不断切换阅读方式，使文本与艺术品在互文中生成多重解读。从制作角度而言，克制干净的展陈设计不仅适配静态艺术拍摄，更以低干预的空间语言将叙事权力交还予作品本身，体现了「从边缘收集」而非「向中心统摄」的策展立场。

展期内的开幕论坛、艺术家对话与公共沙龙构成了一场为期三日的密集内容生产事件。这三日活动并非简单的学术补充，而是与传播营销深度咬合的内容引擎：开幕论坛制造权威声量，确立展览的学术坐标；艺术家对话以亲历者叙事消解当代艺术的认知门槛，生产可二次传播的影像素材；公共沙龙则邀请观众进入文本互动的现场，将被动观看转化为主动参与。三者叠加，既在开幕窗口期集中引爆社交媒体话题，又为后续三个月展期持续输送用户原创内容——观众在展厅内的打卡行为、文本互动项目的即时反馈，经由社交平台扩散后，形成「线下体验—线上分享—引流返场」的闭环。这一机制使展览超越物理空间的限制，成为今夏沪上最具思想性的当代艺术文献展，也让香奈儿文化基金「扶持本土创作者、搭建跨学科对话平台」的长期承诺，转化为可感知、可参与、可传播的文化现场。

From July 16 to October 8, 2026, the Chanel Culture Fund and Shanghai's Power Station of Art (PSA) unveil the fourth season of Next Cultural Producer—titled Carrier Bags from the Peripherals —at the Espace Gabrielle Chanel on PSA's third floor. As the first long-term Asian initiative launched by the Chanel Culture Fund in 2021, this program has evolved through four seasons, moving from craft and architecture to theater and now to the interdisciplinary inquiry of "text and art." This trajectory continues a patronage ethos rooted in the brand's DNA since Gabrielle Chanel's era, from her funding of Stravinsky's The Rite of Spring to Zaha Hadid's Mobile Art Pavilion, consistently treating cultural capital as the core pillar of brand narrative.

Co-curated by Li Yalun and Qian Mengni, this season adopts Ursula K. Le Guin's "carrier bag theory" as its spatial concept. Within a contemplative atmosphere of minimalist white and raw wood textures, a circular display structure divides the Espace Gabrielle Chanel into "periphery" and "interior" zones: the outer ring presents in-depth journalistic reportage and fictional texts, while the inner ring scatters 31 works spanning contemporary art, architecture, literature, and moving image. This open, meandering circulation disrupts the conventional linear logic of museum viewing, inviting audiences to switch continuously between reading and seeing as they circle, pause, and double back, generating multiple interpretations through the intertextuality of words and objects. From a production standpoint, the restrained, clean exhibition design not only accommodates static art photography but also employs a low-intervention spatial language that returns narrative authority to the works themselves, embodying a curatorial stance of "collecting from the margins" rather than "governing from the center."

The opening forum, artist dialogues, and public salons staged during the opening period constitute a three-day intensive content-production event. These three days are not mere academic supplements but rather a content engine deeply integrated with communication and marketing strategy: the opening forum generates authoritative discourse that establishes the exhibition's intellectual coordinates; artist dialogues leverage firsthand narratives to lower the cognitive threshold of contemporary art, producing audiovisual material ripe for secondary dissemination; while public salons invite audiences into on-site text-based interactions, transforming passive viewing into active participation. Together, they create a concentrated burst of social media momentum during the opening window while continuously feeding user-generated content throughout the three-month run—visitor check-ins and real-time feedback from interactive text projects circulate across social platforms, forming a closed loop of "offline experience, online sharing, and return traffic." This mechanism allows the exhibition to transcend its physical boundaries, becoming one of Shanghai's most intellectually rigorous contemporary art documentary exhibitions this summer, while translating the Chanel Culture Fund's long-standing commitment to supporting local creators and fostering interdisciplinary dialogue into a cultural site that is perceptible, participatory, and eminently shareable.

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