'Black Face, White Face', by Zhao Liang, 2014. Courtesy of the artist

本周末，第十届上海双年展都在上海的艺术站开幕，所有的目光都集中在了中国，这是一座40000平方米的刀片式跑步机，它是中国第一家国营当代艺术博物馆。感谢年轻人的先见之明，来自柏林的先发制人的Anselm Franke，这次展览因在一座充满世界级艺术的城市中出类拔萃而引人注目（特别是Sean Scully在喜马拉雅美术馆举办的回顾展和首届“宇宙展”。民生美术馆，吸引大批观众。

弗朗克在解释今年的主题时说，世界上的Few城市代表着一个像上海那样充满活力的社会形象。“这是中国快速现代化的特点，但也体现了对后工业未来的承诺，中国将不再是世界工厂，而是一个”社会工厂“。

在70多位本地和国际艺术家创作的100多部作品中，最引人注目的有：王明通过中国广受欢迎的科幻电视节目和中国传统歌剧描绘的对未来的思考；侯春明对亚洲父亲角色的探索；以及加州艺术家埃德加·阿尔塞诺(Edgar Arceneaux)的沉浸式装置，反映了后工业时代的底特律。

这次多样化的展览包括表演和电影，比如王子月关于一群住在中国城市建筑中等待拆除的令人难以忘怀的记录。胡刘还以2002年“长征空间”的创作为灵感，反思了现代中国。在那里，她与当地农民交换了红色康乃馨，以换取艺术品，而然黄的巨石则由英国工匠雕刻而成，质疑艺术的创造性。

1938年毛泽东引用了中国著名的“实事求是”原则，这是奥地利作曲家彼得·阿勃林格(PeterAblinger)的机器人钢琴装置中的另一个关键主题。在同一大厅空间，刘闯‘s’分段景观‘几何窗口格栅评论了内和外的概念。

然而，特雷弗·杨(Trevor Yang)的“玛拉库扎路”(MaracujáRoad)是一部引人入胜的作品，它以发人深省的方式表达了人际关系中该作品由一个竹子框架组成，悬吊在80种高度侵入性的西番莲植物的触手可及之外：现代生活的一个惊人的隐喻。

A still from 'Black Face, White Face', by Zhao Liang, 2014. Courtesy of the artist

Trevor Yeung’s ‘Maracujá Road’ work is the standout piece with a thought provoking representation of unsatisfied impulses in human relationships. The work is composed of a bamboo frame suspended out of reach of 80 highly invasive passion fruit plants: a striking metaphor of modern life

'The Algorithm Doesn't Love You: from Detroit to Shanghai', by Edgar Arceneaux, 2010-14. Courtesy of the artist and Susanne Vielmetter Los Angeles Projects

 '1999' sound installation, by Liu Ding, 2014. Courtesy of the artist

'For the Sake of Ten Thousand - Old Hero', by Liu Ding, 2014. Courtesy of the artist

Alexandra Domanovic's 'From Yu To Me' series is part of the artist's enquiries into cybernetics and science. The 'Belgrade Hand', a multifunctional prosthesis developed in 1964, was the first prosthetic hand that had a sense of touch. The artwork also nods to Diego Rivera's 'A Dream of Sunday Afternoon in Alameda Park', a painting depicting Frida Kahlo holding a yin and yang symbol

'Liquidation Maps - Khmer Rouge, Cambodia, 1975-78', by Yin-Ju Chen, 2014. This work explores political genocides and massacres in Asian history from an occult angle, blending astrology and astronomy. Courtesy of the artist

'Windows on the World (Part 2)', by Ming Wong, 2014. Here, the artist muses on the future depicted through China’s wildly popular sci-fi television programmes and traditional Chinese opera. Courtesy of the artist and Vitamin Creative Space

Hou Chun-Ming's 'Asian Father' series, 2014, explores paternal relationships. Courtesy of the artist

'Asian Father', by Hou Chun-Ming, 2014. Courtesy of the artist

'Flags for Organizations', by Art & Language, 1978. Courtesy of the artists and Lisson Gallery, London

'Transformation Text (Book of Bianwen)', by Chen Chieh-jen, 2014

'Views from the Indigo Train', by Adam Avikainen, 2014

'Dust: Dust Square', by Mona Vatamanu and Florin Tudor, 2007-2014. Courtesy of the artists

The Romanian artist duo's 'Dust: Dust Square' work traces ruins of buildings demolished by dictatorial regimes in Europe, here focusing on the Vacaresti monastery destroyed in 1986 in Bucharest. Courtesy of the artists

'I Don't Want to be Like Anyone Else', by Stephen Willats, 1977. Courtesy of the artist and Victoria Miro, London

'We'll See How All Reverberates', by Carlos Amorales, is a musical installation based on the mobiles of Alexander Calder. Visitors are invited to play on the cymbals

keywords:The 10th Shanghai Biennale, post-industrial, China, Power Station of Art, museum, art biennale, art fair

关键词：第十上海双年展，后工业，中国，艺术电站，博物馆，艺术双年展，艺术博览会