新闻稿

上海喜玛拉雅美术馆影像合集年展——喜影集（Himage）隆重开幕2017 年 8 月 12 日——在当下，摄影、影像、新媒体、虚拟现实技术等已成为当代艺术难以分割的表达手段，其兼具前沿性与艺术性的特性紧密联系时下文化价值体系。从 2005 年建馆至今，上海喜玛拉雅美术馆一直致力于推动艺术发展的各种可能性，2017 年，喜玛拉雅美术馆正式将这一板块以“喜影集（Himage）”统一定义，并固定在每年夏季推出一系列视觉影像展览。2017 年 8 月 12 日，第一季“喜影集”在喜玛拉雅美术馆隆重开幕。5 场来自中国和海外艺术家的个展/群展联袂登场，包括：由段煜婷策展的 3 场摄影展《中立的观看——瓦尔特·博萨特的 视 觉 档 案 》 、 《 颜 姐 —— 唐 景 锋 个 展 》 、 《 大 国 志 —— 严 明 个 展 》 、 朱 青 生 回 顾 展《“滚！”在当下：朱青生作品 1994-2004》以及群展《移动靶——新算法下的实体、叙事与秩序生产》。在“喜影集”大展期间，喜玛拉雅美术馆还将组织一系列讲座、高端学术论坛 、工作坊等相关领域的公共教育活动，以建构“喜影集”合集板块的理论和展览价值。《中立的观看——瓦尔特·博萨特的视觉档案》策展人：段煜婷、彼得·普夫伦德 主办：上海喜玛拉雅美术馆协办：连州国际摄影年展、瑞士摄影基金会、瑞士驻上海总领事馆支持单位：广州无关文化发展有限公司上世纪三十年代，摄影术发明接近一百年，西方人已经开始依赖这种新发明所带来的观看方式 ；而尚处于农业社会的中国，相机作为一种稀罕物还只是富有和特权阶层的玩物，摄影也远远没有成为一种新的观看社会的语言方式，这也是我们所看到那个时期或更早期中国的照片大部分出自西方人之手的原因。1931 年是中国近代史上的一个分水岭，“九一八事变”的爆发使得东北三省在四个月内快速沦陷，改变了整个中国的格局。也就是在这一年，瑞士摄影师瓦尔特 ·博萨特来到了中国。这位现代新闻摄影的先行者，除了擅长写作和摄影之外，他在现实生活和艺术创作中不顾地域的限制，以作为亚洲和欧洲两地之间的沟通桥梁和冒险者而闻名。在长达十几年的时间中，他在中国定居了下来。由于良好的视觉训练和人文素养，使得他的照片气质迥异于同一时期的其他外国观看者。另一方面，凭着记者敏锐的嗅觉和长袖擅舞的沟通

上海喜玛拉雅美术馆，上海市浦东新区樱花路 869 号 3F，邮编 201204 联系电话：+8621 50339801Shanghai Himalayas Museum, 3F, No. 869, Yinghua Rd, Shanghai 201204, China Phone: 8621 50339801

能力，他的社交面极为广泛，上到达官显贵、文化名流，下到平民走卒，他的照片内容涉及当时整个中国的政治、经济、民生、人文风俗、文化等多个层面，除了比较全面地深入到中国内部，不仅重要城市甚至小到以乡绅家庭为单位的农业社会最基本的调查样本，还远涉偏僻的蒙古、青海等地的少数民族地区考察。但是时代的使命使然，博萨特的目光最终大量地聚集在了那个时期波澜壮阔的政治变迁和风起云涌的区域战争上。来自中立国的身份给予他极大的便利，他迅速地意识到了这种得天独厚的条件，一方面他尽全力去延安采访，成为历史上进入延安的第一个欧洲记者。纵观西方人观看中国的历史，真正具有客观价值的视觉文献极为难得。欣慰的是瓦尔特 ·博萨特留下的这些在数量上蔚为可观的中国照片，同时也是一批珍贵的西方摄影家在一定程度上摆脱东方主义偏狭目光的照片，无论博萨特在拍下这些照片的时候是否具有这样的自觉意识，从照片本身来讲已经是众多西方人拍摄的中国里，最让人舒服的照片了。但愿今后，我们能靠自己书写历史。《中立的观看——瓦尔特·博萨特的视觉档案》展览获得连州国际摄影年展和瑞士驻上海总领事馆的大力支持以及策展人段煜婷、彼得·普夫伦德提供的卓越的学术支持，亦要鸣谢瑞士摄影基金会和苏黎士联邦理工学院当代历史档案馆提供的藏品。

《颜姐——唐景锋个展》策展人：段煜婷 主办：上海喜玛拉雅美术馆协办：连州国际摄影年展支持单位：广州无关文化发展有限公司唐景锋（1977 年生于香港）在利物浦大学接受医护训练，并于欧洲、美洲及亚洲游历工作； 2003 年始投身全职摄影师，同年凭借印度伤健儿童专题相片夺得路易斯·巴尔图埃纳国际人道主义摄影奖。他于 2006 年取得伦敦传播学院纪实摄影硕士，并开始由其华裔及家族背景取得灵感，创作个人作品。展览包含 6 个部分，展出 46件摄影作品和 1件装置作品。颜姐名叫麦颜玉，是艺术家唐景锋的妈姐（女佣），在唐家工作近四十年。颜姐出生在中国南方乡郊一户穷人家，二十岁左右，她开始要面对嫁人的压力，因为作为长女，弟弟得在她出嫁后才可娶妻生儿。由于不想被迫盲婚，她抉定自梳，然后到香港工作当家佣。是最后一代自梳女的典型代表——勤劳、无私、独立。艺术家以她为主角，意在探究历代自梳女的起点，为历来未受传颂的女“英雌”发声，使其不致被遗忘无视。

上海喜玛拉雅美术馆，上海市浦东新区樱花路 869 号 3F，邮编 201204 联系电话：+8621 50339801Shanghai Himalayas Museum, 3F, No. 869, Yinghua Rd, Shanghai 201204, China Phone: 8621 50339801

《大国志——严明个展》策展人：段煜婷主办：上海喜玛拉雅美术馆协办：连州国际摄影年展支持单位：广州无关文化发展有限公司70后的严明大学学的是中文，毕业后曾做过十年摇滚歌手、当过十年记者，2010 年辞去公职，成为自由摄影师，现居广州。2014 年严明出版了第一本摄影随笔集《我爱这哭不出来的浪漫》，记录了他如何开始摄影，如何形成自己特有的摄影风格，还有他对于摄影的诸多思考。《大国志》是他的摄影代表作品，以历史和生存环境为关注的核心。经济发展热潮背后，传统的人文环境显现出一种孤寂、落寞状态。这些状态，已经越来越不能被人们留意和重视。这些“中式”景像的遗存，显示了文化基因的流失，它们已经越来越像一首挽歌。经济的冲击和人们的漠视，会让它们日益远去。《中立的观看——瓦尔特·博萨特的视觉档案》、《颜姐——唐景锋个展》和《大国志——严明个展》均为与连州国际摄影年展合作项目。

《“滚！”在当下：朱青生作品1994-2004》主办：上海喜玛拉雅美术馆协办：北京大学视觉与图像研究中心“中国现代艺术档案”、九漆堂文化产业发展有限公司支持单位：W+S设计机构作为北京大学教授和国际艺术史学会主席的朱青生为人所熟知，而《“滚！”在当下：朱青生作品 1994-2004》展览则着力呈现他的另一面——作为艺术家的朱青生。展览位于美术馆一层西侧展厅，回顾了他在 1994 年至 2004 年创作的 11件《滚！》系列作品，是他在这十年中针对不同问题、不同场景所做的行为、影像记录和观念艺术活动的成果。《滚！》是摄像机脱离人的手眼控制后的滚落过程中所记录下的影像，以此来对作为“人类感觉的延伸”和“环境的创造与制作”的媒体进行根本性的反省和批判，也就是“反媒体”。朱青生的批判不仅表达了对媒体背后的资本和权力的警惕，更重要的是意识到媒体和媒介本身对人的异化，以及异化后其自身形成的权力。这种权力反过来利用了媒体的权威和资本，同时也是一种对人类整体的宰制和异化。因此，“反媒体”是针对这一系列问题所发出的质疑和行动。

上海喜玛拉雅美术馆，上海市浦东新区樱花路 869 号 3F，邮编 201204 联系电话：+8621 50339801Shanghai Himalayas Museum, 3F, No. 869, Yinghua Rd, Shanghai 201204, China Phone: 8621 50339801

“滚！”这一命名是朱青生反叛精神的体现，他认为人类信息世界是由媒介所“制造”出来的，然而媒介却没有能够真正受到人类的控制，反而是媒介反过来控制了人类，因此必须要让它“滚！”。

《移动靶——新算法下的实体、叙事与秩序生产》学术主持：焦兴涛策展人：孙鹏参展艺术家：焦兴涛、唐勇、张翔、张增增、张超、李娜、张晓影、李浏洋、胡晓林、应东霖主办：上海喜玛拉雅美术馆、四川美术学院协办：上海零屿数码科技有限公司特别支持：重庆新媒介美术创作重点实验室《移动靶——新算法下的实体、叙事与秩序生产》由四川美术学院副院长、雕塑系教授焦兴涛担任学术主持、青年策展人孙鹏策划，呈现在“重庆新媒介美术创作重点实验室”支持下，四川美术学院雕塑系和新媒体系 10 位艺术家创作的 12 组新媒介作品。实体、叙事、秩序生产是此展的关键词，也是艺术家瞄准的靶和工作起点。 新算法是贯穿展览的线索，包括生物技术、计算机中流动和管控不断更新的内部经验的运行方法以及互动控制技术，也就是新算法下的创作工具。在此展的每件作品中都有一些占据空间的实体，雕塑是一个出发点，包括用废旧的工业材料搭建的双子塔、大烟筒、根据观众的脑电波采集翻模制成的三米多高的雕塑、像从理查·塞拉的雕塑中截取的金属板。实体被新技术延伸，也丰富了新技术的层次。其中几位艺术家也在发掘新媒介手段实现个体叙事的新潜能，他们在同一空间中布置不同时空发生的事件以呈现局部隔阂的方式复述情感联系。他们相信，流动的情感历程本身就可以使作品重新生长出引人进入的神秘感，以抗拒靠分享的国际经验堆积成的冷漠、空虚对观众充满抗拒的作品。秩序生产是个宏观概念，它只负责引出话题，当下给不出答案。而在新算法下（计算机、人工智能和视觉革命时代的新武器），一些关系应被不断讨论，以跟上或是反思艺术家、技术、作品、观众、身体之间以新的秩序悄然变序的步伐。“喜影集”联展将持续至 9 月 10 日。

机构介绍

上海喜玛拉雅美术馆，上海市浦东新区樱花路 869 号 3F，邮编 201204 联系电话：+8621 50339801Shanghai Himalayas Museum, 3F, No. 869, Yinghua Rd, Shanghai 201204, China Phone: 8621 50339801

上海喜玛拉雅美术馆由著名建筑师矶崎新设计，前身为创建于 2005 年的上海证大现代艺术馆（Zendai MoMA），是证大集团董事长戴志康对社会的文化回馈。创立十多年来，美术馆在当代的社会语境下以开放的姿态和前瞻性的视野探索新模式，重视学术梳理、尝试打通学科壁垒、努力连接当代与传统、推进国际文化艺术交流，致力成为提升专业、走向公众的新型美术馆。

更多资料，请邮件联系 chenyun.wu@himalayasmuseum.org，如需咨询请致电+86-21-50339801-2004

喜玛拉雅美术馆参观信息：上海市浦东新区樱花路 869 号 3F（地铁 7 号线花木路站 3 号出口）展览时间：周二至周日早十点至晚六点（每周一闭馆）官方网站：http://www.himalayasart.cn/新浪微博：http://weibo.com/himalayasart

欢迎添加喜玛拉雅美术馆微信

上海喜玛拉雅美术馆，上海市浦东新区樱花路 869 号 3F，邮编 201204 联系电话：+8621 50339801Shanghai Himalayas Museum, 3F, No. 869, Yinghua Rd, Shanghai 201204, China Phone: 8621 50339801

Press Release

Himage Presented at Shanghai Himalayas Museum

August 12, 2017 - Photography, video, new media and virtual reality have already become indispensable means of expressions that have closely linked their own pioneering characteristics to the current cultural value system in the field of contemporary art nowadays. Ever since its establishment in 2005, Shanghai Himalayas Museum has dedicated itself to exploring the immense possibilities of artistic development. Following this thread, this year the museum launches “Himage,” an annual programme featuring a cluster of exhibitions centering on the concepts of photography, moving images, interactive new media and virtual reality technologies.

On August 12, 2017, the first season of “Himage” is open to public. The first season features five solo and group exhibitions of artists from China and abroad. The five exhibitions include: Neutral Viewing - Walter Bosshard’s Visual Archive, Combing for Ice and Jade - Kurt Tong Solo Exhibition, Country of Ambition - Yan Ming Solo Exhibition, “Rolling”, Keep Rolling: LaoZhu’s Works 1994-2004 and Running Target - Entities, Narratives and Order Production under New Algorithm. In the course of “Himage”, the museum will organize a series of public education activities, including lectures, seminars and workshops to further the discussions on these topics.

Neutral Viewing - Walter Bosshard’s Visual ArchiveCurators: Duan Yuting, Peter PfrunderOrganized by Shanghai Himalayas MuseumIn collaboration with Lianzhou Foto Festival, Consulate General of Switzerland in Shanghai and the Swiss Foundation for Photography.With the support of Guangzhou Wuguan Cultural Development Co.

By the 1930s, after photography had existed for nearly 100 years, the West had begun to look at the world through this new way of seeing while China was still in the state of an agricultural community. Cameras were rare toys for the rich and privileged, and photography was far from becoming a new social language. This is why pictures that we have seen from that period or earlier times were mostly taken by westerners in the country.

上海喜玛拉雅美术馆，上海市浦东新区樱花路 869 号 3F，邮编 201204 联系电话：+8621 50339801Shanghai Himalayas Museum, 3F, No. 869, Yinghua Rd, Shanghai 201204, China Phone: 8621 50339801

The year of 1931 was a significant turning point in modern Chinese history. Within four months of the Mukden Incident, the Imperial Japanese Army had overrun all major towns and cities in the provinces of Liaoning, Jilin, and Heilongjiang, and completely changed the political balance of China as a whole. This year, as an independent journalist and contributor to several European media outlets, Swiss photojournalist Walter Bosshard arrived in China. Walter Bosshard was a pioneer of modern photojournalism. A master of the word and the camera, crosser of frontiers not only in the geographical sense, he made himself a name as an adventurer and bridge builder between Asia and Europe.

Bosshard ended up spending the next 10 years in China making pictures of distinct characteristics due to his excellent background in visual training and humanistic quality. With the sharp intuition of a photojournalist and a strong capability in socialization and communication, Bosshard had greatly expanded his social circle to include government officials, dignitaries and celebrities at the top, and small tradesmen, porters and average citizens at the bottom. The subjects of his work not only cover a wide range of aspects such as politics, economy, social customs and culture, but also include visual samples of small villages and towns on the countryside and minorities residing in remote regions of Mongolia and Qinghai.

But as the fate and destiny of the time dictates, Bosshard inevitably spent most of his attention on the constantly changing political environments and military developments across the country during that turbulent period. His identity as a citizen of a neutral country had offered him great convenience and favorable treatments which he quickly realized himself. He succeeded in becoming the first European correspondent to enter Yan'an.

As we review the visual historical records left behind by western photographers, we realize how difficult it is to discover truly objective visual documents of authentic values. It's somewhat comforting to see such a substantial collection of photographs about China left behind by Walter Bosshard, and to a certain extent he's one of the few western photographers that I know of who had rid himself of the typical Orientalism that was commonly exhibited by other western photographers of his time. Regardless of whether such were the conscious intentions and approaches taken by Bosshard when he made these photographs, they are still among the most comforting pictures that I have seen about China of that particular period.

上海喜玛拉雅美术馆，上海市浦东新区樱花路 869 号 3F，邮编 201204 联系电话：+8621 50339801Shanghai Himalayas Museum, 3F, No. 869, Yinghua Rd, Shanghai 201204, China Phone: 8621 50339801

Hopefully we will be able to write our own histories from now on. 

Neutral Viewing - Walter Bosshard’s Visual Archive is organized in collaboration with Lianzhou Foto Festival and Consulate General of Switzerland in Shanghai, and has received tremendous academic support from Duan Yuting and Peter Pfrunder, co-curators of the exhibition. Special thanks should also be given to the Swiss Foundation for Photography and the Archive of Contemporary History, ETH Zurich, for their valuable collection.

Combing for Ice and Jade - Kurt Tong Solo ExhibitionCurators: Duan YutingOrganized by Shanghai Himalayas MuseumIn collaboration with Lianzhou Foto FestivalWith the support of Guangzhou Wuguan Cultural Development Co., Ltd

Born in Hong Kong in 1977, Kurt Tong was originally trained as a health visitor at the University of Liverpool. He has worked and traveled extensively across Europe, Americas and Asia. Kurt became a full-time photographer in 2003. He was the winner of the Luis Valtuena International Humanitarian Photography Award with his first picture story documenting the treatment of disabled children in India. He gained his Masters in documentary photography at the London College of Communications in 2006 and began working on much more personal projects.

Comprised of 6 sections, Combing for Ice and Jade: Kurt Tong Solo Exhibition showcases 46 photography works and 1 installation work. Nanny Yan, the protagonist of the Combing for Ice and Jade series, is the maidservant of Tong’s family. She chose to became a “self-combing woman” at the age of twenty. At a time when feudal traditions strictly governed women’s behaviour and position in society, becoming a self-combing woman was a socially sanctioned way to avoid marriage and be independent. As a typical representative of the last generation of “self-combing woman,” Nanny Yan embodies some of the most prominent characters of these women – diligence, selflessness and independence. Centering upon the life trajectory of Nanny Yan, the artist intends to investigate the origin of the “self-combing women” and speak for the heroines that have long been ignored.

Country of Ambition - Yan Ming Solo Exhibition, “Rolling”

上海喜玛拉雅美术馆，上海市浦东新区樱花路 869 号 3F，邮编 201204 联系电话：+8621 50339801Shanghai Himalayas Museum, 3F, No. 869, Yinghua Rd, Shanghai 201204, China Phone: 8621 50339801

Curators: Duan YutingOrganized by Shanghai Himalayas MuseumIn collaboration with Lianzhou Foto FestivalWith the support of Guangzhou Wuguan Cultural Development Co., Ltd

Born in the 1970s, Yan Ming majored in Chinese Language and Literature in college. After graduation, he had spent ten years pursuing a career as a rock singer and another ten years as a journalist. In 2010, Yan decided to give up his full-time job and became a freelance photographer. In 2014 he published his first photographic essay collection A Once in a Lifetime Moment, revisiting and sharing with readers the beginning of his career as an artist, the development of his personal style, as well as his insights into photography as an art genre.

Country of Ambition, one of his most known photographic series, focuses upon the history and the living conditions we are now faced with. Lying behind the economic boom, the traditional humanistic environment seems to have fallen into a state of emptiness and desolation, to which, unfortunately, most people turn a blind eye. The remains of the so-called “Chinese-style” scenes reveal the loss of our cultural genes and have become an elegy in this regard. Confronted with the economic shocks and the general ignorance of the mass, the relics of humanistic traditions will be further marginalized in the modern society.

Neutral Viewing - Walter Bosshard’s Visual Archive, Combing for Ice and Jade - Kurt Tong Solo Exhibition and Country of Ambition - Yan Ming Solo Exhibition are presented in collaboration with Lianzhou Foto Festival.

“Rolling”, Keep Rolling: LaoZhu’s Works 1994-2004Organized by Shanghai Himalayas MuseumIn collaboration with Center for Visual Studies, Peking University “Chinese Modern Art Archive”and Jiu Qi Tang (Beijing) Culture Development Co., Ltd.With the support of W+S Design

LaoZhu (Zhu Qingsheng’s nickname) is very much known for his identity as the professor at Peking University and the president of International Society for the History of Art. The exhibition “Rolling”, Keep Rolling: LaoZhu’s Works 1994-2004, however, endeavors to cast more light on the less-well-known

上海喜玛拉雅美术馆，上海市浦东新区樱花路 869 号 3F，邮编 201204 联系电话：+8621 50339801Shanghai Himalayas Museum, 3F, No. 869, Yinghua Rd, Shanghai 201204, China Phone: 8621 50339801

identity of him: LaoZhu as an artist. Located in the west wing of the gallery on the first floor, the exhibition displays 11 pieces from his “Rolling!” series. The series, shot between 1994 and 2004, showcases his reflection upon various problems in the form of performance, video art and conceptual art.

Featuring images captured by a camera that was detached from human hand and rolling randomly, "Rolling!" demonstrates the artist’s critical introspection upon media. In other words, the series advocates an “anti-media” stance. Zhu’s criticism not only draws attention towards the power of capital and authority lying behind the media, but also highlights the alienation of human beings and the hegemony thus induced. The concept of “anti-media” is directed against such a cycle of capital chains, dominating power and sense of detachment.

As the Chinese title of the series can mean both “rolling” and “getting out”, it demonstrates LaoZhu’s rebellious spirit. In his opinion, the human world is “created” by the mighty forces of various media, yet people have no full control over any single medium. In the face of such a dilemma, human beings have to seize the initiative and make the hegemony of media to “get out”.

Running Target: Entities, Narratives and Order Production under New AlgorithmCurator: Sun PengArtists: Jiao Xingtao, Tang Yong, Zhang Xiang, Zhang Zengzeng, Zhang Chao, Li Na, Zhang Xiaoying, Li Liuyang, Hu Xiaolin, Ying DonglinOrganized by Shanghai Himalayas Museum and Sichuan Fine Arts InstituteIn collaboration with Shanghai Lingyu Digital Technology Co., Ltd.With the support of Chongqing Key Lab of New Media Art Creation

Group exhibition Running Target: Entities, Narratives and Order Production under New Algorithm is on view at the galleries on the second floor. With Jiao Xingtao, vice president and professor of sculpture at the Sichuan Fine Arts Institute and Sun Peng take the role as academic moderator and curator respectively and under the support of the Chongqing Key Laboratory of New Media Art, the exhibition features 12 artworks created by 10 artists from the Sculpture Department and the New Media Department at the Sichuan Fine Arts Institute.

上海喜玛拉雅美术馆，上海市浦东新区樱花路 869 号 3F，邮编 201204 联系电话：+8621 50339801Shanghai Himalayas Museum, 3F, No. 869, Yinghua Rd, Shanghai 201204, China Phone: 8621 50339801

The three key words of the exhibition – “entities,” “narratives” and “order production” – serve as a point of departure, as well as the final target, of the artists’ practice. A reoccurring clue of the exhibition, “new algorithm” refers to various modern creative methods including biotechnology, the computer model of internal data circulation and control and interactive control technology.

Each work represents an entity that occupies a certain amount of space, and in this sense, sculpture functions as a starting point. The twin towers and giant chimneys built with wasted industrial materials, the three-meter high sculpture constructed according to the brainwave model of the audience, along with the metal plate that looks like to have been extracted from a sculpture of Richard Serra, all stand as typical examples. While the presence of entities has enriched the meaning of neo-technologies, these modern techniques have extended the effective space of the physical objects in return. Some of the participating artists have also explored the narrative potential of new media and neo-technologies. By juxtaposing events from different time and space in one single room, the artists intend to reiterate the emotional connections developed against a background where regional alienation occurs. The artists believe that the ever-changing emotional experience per se is able to create a sense of mystery within the works of art, which forms a resistance towards the indifference and emptiness induced by other art pieces relying upon the so-called international experiences.

Order production is a macro concept, and it serves merely to initiate topics rather than to provide solutions. With the new algorithm – a “weapon” in the modern era of artificial intelligence and visual revolutions, certain relationships are constantly discussed as a way of keeping up with the changing pace generated by the new order between artists, technologies, artworks, audiences and human bodies.

Himage will run through September 10, 2017.

About Shanghai Himalayas MuseumEstablished in 2005, the Shanghai Himalayas Museum (formerly known as Shanghai

上海喜玛拉雅美术馆，上海市浦东新区樱花路 869 号 3F，邮编 201204 联系电话：+8621 50339801Shanghai Himalayas Museum, 3F, No. 869, Yinghua Rd, Shanghai 201204, China Phone: 8621 50339801

Zendai MoMA) was founded by Dai Zhikang, chairman of Zendai Group. The building of the museum is designed by renowned Japanese architect Arata Isozaki. With vision and an open mind, the museum has, since its establishment, played an active role in exploring new patterns in the context of the contemporary society, furthering the study of art in terms of both breadth and depth, breaking down barriers among different disciplines with a contemporary touch, integrating the contemporary with the traditional and promoting communication and collaboration between China and abroad in the realm of culture and arts to showcase and interpret the notion of a public-oriented museum.

For more information, please contact us via email at chenyun.wu@himalayasmuseum.org or call us at +86-21-50339801-2004.

Shanghai Himalayas MuseumAdd: 3F, No. 869, Yinghua Road, Shanghai (Exit #3, Huamu Road Station of Metro Line 7)Opening Hours: 10:00-18:00, Tuesdays - Sundays (Closed on Mondays)Website: http://www.himalayasart.cn/Weibo: http://weibo.com/himalayasart

You may scan the QR code to follow us on WeChat

上海喜玛拉雅美术馆，上海市浦东新区樱花路 869 号 3F，邮编 201204 联系电话：+8621 50339801Shanghai Himalayas Museum, 3F, No. 869, Yinghua Rd, Shanghai 201204, China Phone: 8621 50339801