上海外滩美术馆 Rockbund Art Museum

上海外滩美术馆荣幸呈现2026年暑期主题群展“幽斯帕利斯：或，一些微小的自我实践” 。展览汇聚30余位国内外艺术家与创作团体，完整贯穿美术馆内部空间，并在为期四个月的展期内，持续推出由艺术家主导的公共项目。

本次展览以中国具有广泛公共文化记忆的“少年宫”为方法论起点，将美术馆转化为一座临时的公共学习空间。重新思考艺术机构在当代城市语境中的功能与定位。在这一过程中，展览尝试重新思考艺术、教育和公共空间之间的关系，从而展开一场跨越不同领域的综合性对话。

本次展览仅借鉴少年宫的公共美育空间形态与社群学习模式，为艺术视角下的文化实验探讨，不针对现实公办青少年宫运营体系作出评判。

作为二十世纪中叶起在中国各城市广泛建立的核心课外教育机构，少年宫承载着一代人的集体记忆，更构建了独特的成长范式 —— 为青少年提供音乐、舞蹈、美术、科技、体育等领域的系统训练，作为学校教育的延伸与补充，它以开放包容的空间形态与灵活的组织模式，将学习、劳动与集体生活深度交织，塑造了兼具规范性与创造性的成长场域。

以“少年宫”作为方法论，“幽斯帕利斯” 从一个根本性的问题出发：当人们踏入美术馆时，究竟会被塑造成怎样的观看方式、注意力结构与知识关系？展览试图揭示，在“审美经验”看似中立的表象之下，美术馆始终也是一台教育装置——它组织身体的移动路径，规训观看方式，并赋予特定文化权威以合法性。“幽斯帕利斯” 并不将机构批判视为一种来自外部的对抗，而是将其作为一种从机构内部生长出的自我追问：重新审视当代艺术机构所继承的历史、意识形态与空间结构。

一楼展厅将呈现日裔与波多黎各裔泰诺族艺术家小狗·小狗 / 杰德·瓜纳罗·栗木-奥利沃（Puppies Puppies / Jade Guanaro Kuriki-Olivo）的全新委任装置作品。艺术家将美术馆大堂改造为自卫实训空间，观者可在此修习各类自卫拳法，借此彰显个体与生俱来的自主力量与抗逆韧性，守护自身与社群权益，尤其关照少数群体。

二楼展厅特邀北京艺术家葛宇路打造的《虚务堂》。这一松弛闲散、摒弃功利产出的场域，源自艺术家肉身实践创作，以 “无用” 作为反抗新自由主义过度压榨、资源掠夺式运转逻辑的精神表达。空间汇集艺术家社群的各类实践样本，以集体行动拒斥超额生产规训，追寻共通的精神栖居价值。

三楼展厅迎来意大利影像艺术家迭戈・马尔孔（Diego Marcon）影像组作中国首展。艺术家长期深耕结构电影创作技法，聚焦影像语言对青少年身心情感的塑造表达。系列作品以孩童形象为叙事切口，剖析倦怠困顿的生存状态已然固化为当代社会文化图景里循环往复的结构性症结。

四楼展厅陈列伊朗裔德国艺术家奈里·巴格拉米安（Nairy Baghramian）与韩国影像艺术家车在民（Jeamin Cha）的作品，将嬉戏与游玩视作解读异质身体政治的重要肢体语汇。本次展览也是两位艺术家的作品首次在中国展出。该创作理念与上海艺术家徐喆作品、扎根于河内少年宫研究项目形成对话；后者曾亮相 2024 河内创意设计节，一众创作均依托社会主义现代主义建筑探索，重新思辨空间、身体与记忆三者的内在联结。

外滩美术馆馆长及首席策展人朱筱蕤谈道：“美术馆作为公共文化机构，从单向的知识传播走向”开放多元的公共参与”其实早就是文化工业里常见（且骄傲）的的修辞之一。当机构许诺将观众从“知识的接受者”提升为“意义的共同生成者”，这也许只是管理逻辑的迭代。如何不让“开放”、“多元”这些词汇为本质上的同一体系换上更亲近的语调，并严肃的去理解它的政治性变得的非常重要。幽斯帕里斯的”反向塑形“是想在这些语法之外，重新打开机构形态和教育之间的缝隙。”

展览内容多元且极具实验性，涵盖新委任创作、既有作品的创新性重新配置，以及曾在河内少年宫呈现的重要研究项目。展览巧妙地将教育史研究、建筑空间探索与当代艺术实践深度交织，层层考察训练、文化传承与自我塑造之间的复杂关联，为观众呈现一部立足机构批判层面的艺术叙事。

区别于传统展览 “展品陈列 + 被动观看” 的模式，“幽斯帕利斯”将观众的身心参与置于核心位置。展期内，美术馆将持续运行一套贯穿始终的艺术家主导的“课程”。

本次展览汇聚全球优秀创作力量，参展艺术家、创作者与课程参与者包括：小狗·小狗 / 杰德·瓜纳罗·栗木-奥利沃（Puppies Puppies / Jade Guanaro Kuriki-Olivo）、葛宇路、迭戈·马尔孔（Diego Marcon）、奈里·巴格拉米安（Nairy Baghramian）、车在民（Jeamin Cha）、杜秋云（Vân Đỗ）、黎顺渊（Lê Thuận Uyên）、范明孝（Phạm Minh Hiếu）、徐喆、李明、林科、杨俊岭、一起练功、陈啟恒、脏脏黑、何颖宜（Rania Ho）、林叶子、欧飞鸿、彭雪莹、詹琦、永鑫、Ceb、小吴和小张、何珊和JN、张久我、杜文皇（Đỗ Văn Hoàng）、皇珠（Châu Hoàng）、明间（Gian Giữa）、黎春进（Lê Xuân Tiến）、阮黄天银（Nguyễn Hoàng Thiên Ngân）、阮陈南（Nguyễn Trần Nam）、阮辉安（Nguyễn Huy An）、如鹿（Như Lộc）。

“幽斯帕利斯” 由上海外滩美术馆馆长及首席策展人朱筱蕤（X Zhu-Nowell）策划，助理策展人及研究员王馨茹提供支持。

“Youth Palace is like a child who, handed a toy, refuses to “fit it together perfectly” according to the instruction sheet, choosing instead to take it apart, to embrace error and the “misfit.” These gestures may appear minor; but when they occur on a body shaped at once by colonial history, the logic of capital, and the machinery of the state, that very smallness is the most explosive political register they possess.” —X Zhu-Nowell

The Rockbund Art Museum is delighted to announce Youth Palace: or, some small acts of self-making, a major group exhibition that transforms the museum into a provisional Children’s Palace—referencing the socialist extracurricular institutions that, beginning in China in 1953 with the Kadoorie family’s Marble Hall in Shanghai, requisitioned colonial-era estates and redistributed them to the children of workers as sites of music, dance, theatre, and technical training previously reserved for elites.

A state-led pedagogical apparatus common across socialist geographies, Children’s Palaces and their cognates were a product of international revolutionary educational theories that arose in the early 20th century. Through an invocation of what remains unfinished and unresolved in the Children’s Palace as a form, Youth Palace brings into view and questions its claim that aesthetic training, collective discipline, and organized after-school life could constitute a practice of freedom, and the failures that this claim produced.

Within the interior logics of Youth Palace, the concept of youth does not refer to biological age or status, but, as described by curator X Zhu-Nowell, “a radical figure and a methodology, a state of unmoored political subjectivity always on the cusp of becoming” that “(de)constructs the ossified structures of history and returns them to a process and a context.”

Unfolding across the entire museum, Youth Palace brings together new commissions, reconfigurations of existing works, and a re-adaptation of a project originally presented at the Hanoi Children’s Palace, alongside a four-month curriculum of artist-led workshops, sessions, and gatherings that makes the museum an active site of training, retraining, and de-training.

On the ground floor, a newly commissioned installation by Japanese-Puerto Rican (Taíno) artist Puppies Puppies / Jade Guanaro Kuriki-Olivo converts the museum’s first-floor gallery into a participatory boxing club where audience members are invited to learn all forms of self-defense, highlighting the potentials of agency and resilience embedded in each person to protect themselves and their communities, particularly transgender and queer communities which are often structurally excluded from the protection and benefits of the state.

On the second floor, Beijing-based artist Ge Yulu has been commissioned to convene the Hall of the Use-Less, an artwork that takes the form of a social space for convivial non-productivity which stems from his embodied practice and exploration of use-less-ness as a mode of resistance against extractive, neoliberal logics of overwork. In the Hall of the Use-Less, samples of practices are gathered from across Ge’s community in a collective exercise on non-compliance with regimes of over-production as a nod to communal well-being.

On the third floor, a suite of moving image works by Italian artist and filmmaker Diego Marcon makes their Chinese premiere. Extending from his long-term explorations of structural cinema and film-making techniques, especially in relation to the formal and affective mediation of young people through cinematic forms, these works position the figure of the child as an entry point into considering how conditions of exhaustion have remain embedded within contemporary social and cultural imaginaries as a cyclical structure.

On the fourth floor, works by Iranian-German artist Nairy Baghramian and Korean filmmaker and artist Jeamin Cha situate play as a crucial choreographic register for understanding a body politics of alterity. These ideas are situated in conversation with works by Shanghai-based artist Xu Zhe and the Hanoi Children’s Palace project, a site-specific curatorial initiative originally presented as part of the 2024 Hanoi Creative Design Festival, that each reconsiders the relationship between space, body, and memory through explorations of socialist Modern architecture.

Parallel to the exhibition is an artist curriculum led by invited artists and practitioners that encourages novel skills and knowledge acquisition through public programming that interrupts and subverts the programmatic conventions of museal pedagogies.

Drawing from but also reflexively subverting the post-modern impulses of institutional critique, Youth Palace is animated by a core logic that problematizes the premises and promises of the art museum as an institutional and discursive mode. By juxtaposing the museum, a bourgeois exhibitionary complex, with the Children’s Palace, an apparatus of mass education, Youth Palace proposes an alternate space and context within which a radical social potential of collective education and liberation can be rendered imaginable and enactable.

Exhibition and Curriculum Participants: Puppies Puppies / Jade Guanaro Kuriki-Olivo; Ge Yulu; Diego Marcon; Nairy Baghramian; Jeamin Cha; Vân Đỗ, Lê Thuận Uyên, Phạm Minh Hiếu; Xu Zhe; Li Ming, Lin Ke, Yang Junling; Energy Waving Collective; Chen Qiheng, Dirty blackbbb, Rania Ho, Lin Yezi, Ou Feihong, Peng Xueying, Zhan Qi, Yong Xin, Ceb, Xiao Wu and Xiao Zhang, He Shan and JN, Zhang Jiuwo; Đỗ Văn Hoàng, Gian Giữa, Châu Hoàng, Lê Xuân Tiến, Nguyễn Hoàng Thiên Ngân, Nguyễn Trần Nam, Nguyễn Huy An, Như Lộc

Youth Palace: or, some small acts of self-making is curated by X Zhu-Nowell, Executive Director and Chief Curator of the Rockbund Art Museum, with the support of Karen Wang, Assistant Curator and Researcher.