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(1). 1:The Dune’s interiors are meant to cultivate an intimacy between viewer, work and space.
2:“Going to a museum in China often feels like going to a shopping centre,” says Mr Li—an experience of rushed consumerism, typically characterised by large crowds and smartphone selfies.
3:By contrast, the Dune’s subterranean galleries invoke the caves in which the most primitive human art was first daubed.
4:The design was inspired by Louis Kahn, a 20th-century American architect who envisaged museums as a “society of rooms”, which foster interaction and encourage people to slow down.
5:Given the isolated location, visitors will have to make a deliberate “pilgrimage to the art”, as Mr Li puts it, rather than just a hurried urban fly-by.
2:“Going to a museum in China often feels like going to a shopping centre,” says Mr Li—an experience of rushed consumerism, typically characterised by large crowds and smartphone selfies.
3:By contrast, the Dune’s subterranean galleries invoke the caves in which the most primitive human art was first daubed.
4:The design was inspired by Louis Kahn, a 20th-century American architect who envisaged museums as a “society of rooms”, which foster interaction and encourage people to slow down.
5:Given the isolated location, visitors will have to make a deliberate “pilgrimage to the art”, as Mr Li puts it, rather than just a hurried urban fly-by.
1:沙丘的内部设计旨在培养观众、工作和空间之间的亲密感。
2:“在中国，去博物馆就像去购物中心，”李虎表示——这是一种匆忙的消费主义体验，典型的特征是大量人群和智能手机自拍。
3:相比之下，沙丘美术馆的地下画廊让人想起最原始洞穴里被涂抹的人类艺术。
4:该设计灵感来自20世纪的美国建筑师路易斯·卡恩，他将博物馆设想成一个“房间社会”，旨在促进互动，鼓励人们慢下来。
5:考虑到这个位置人烟稀少，游客们将不得不进行一次深刻的“艺术朝圣”，正如李虎所言，这不仅仅是一次匆忙的城市飞掠。
2:“在中国，去博物馆就像去购物中心，”李虎表示——这是一种匆忙的消费主义体验，典型的特征是大量人群和智能手机自拍。
3:相比之下，沙丘美术馆的地下画廊让人想起最原始洞穴里被涂抹的人类艺术。
4:该设计灵感来自20世纪的美国建筑师路易斯·卡恩，他将博物馆设想成一个“房间社会”，旨在促进互动，鼓励人们慢下来。
5:考虑到这个位置人烟稀少，游客们将不得不进行一次深刻的“艺术朝圣”，正如李虎所言，这不仅仅是一次匆忙的城市飞掠。
(2). 1:“After Nature”, the inaugural exhibit (curated by Luan Shixuan), focuses on a pertinent subject: the future of humanity’s relationship with the natural world.
2:Each of the nine contemporary Chinese artists in the show engages cleverly with the space that their work occupies.
3:Visitors standing in front of Liu Yujia’s “Wave”, a digital diptych featuring aerial footage of waves rushing against the coast, need only to turn around to find themselves looking out at the Bohai Sea.
4:Beyond a glass door lies Zheng Bo’s “Dune Botanical Garden”, a work of bio-art made of transplanted local weeds that also functions as a museum garden.
5:Nearby stands “Destination”, an installation by Na Buqi, which comprises an overturned billboard advertising an eerily photoshopped beachside getaway.
2:Each of the nine contemporary Chinese artists in the show engages cleverly with the space that their work occupies.
3:Visitors standing in front of Liu Yujia’s “Wave”, a digital diptych featuring aerial footage of waves rushing against the coast, need only to turn around to find themselves looking out at the Bohai Sea.
4:Beyond a glass door lies Zheng Bo’s “Dune Botanical Garden”, a work of bio-art made of transplanted local weeds that also functions as a museum garden.
5:Nearby stands “Destination”, an installation by Na Buqi, which comprises an overturned billboard advertising an eerily photoshopped beachside getaway.
1:“后自然”：UCCA沙丘美术馆开幕展（栾诗璇策划），关注相关的主题：人类与自然世界关系的未来。
2:展览中的九位中国当代艺术家都巧妙地利用了其作品所占据的空间。
3:刘雨佳的《海浪》是数码双联画，以海浪冲击海岸的航拍镜头为特色，游客驻足在《海浪》前，只要一转身，就可以眺望渤海。
4:玻璃门外是郑波的《沙丘植物园》，这是由移植的本地杂草制成的生物艺术品，也可以用作博物馆的花园。
5:娜布其的装置作品《终点》矗立在附近，作品包含一块翻倒的广告牌，上面登着一张经过美化过的海滨度假照片。
2:展览中的九位中国当代艺术家都巧妙地利用了其作品所占据的空间。
3:刘雨佳的《海浪》是数码双联画，以海浪冲击海岸的航拍镜头为特色，游客驻足在《海浪》前，只要一转身，就可以眺望渤海。
4:玻璃门外是郑波的《沙丘植物园》，这是由移植的本地杂草制成的生物艺术品，也可以用作博物馆的花园。
5:娜布其的装置作品《终点》矗立在附近，作品包含一块翻倒的广告牌，上面登着一张经过美化过的海滨度假照片。
(3). 1:Ms Na’s contribution is a wry commentary on the museum itself.
2:Its location, Beidaihe, is well-established as both a summer retreat for Beijing’s political elite and a popular beach resort for domestic tourists.
3:Cranes crowd behind the dunes, supervising construction work by Aranya, a Chinese developer that also funded and built the museum.
4:Much as the Dune wants to attract visitors, a big influx might threaten its sustainable vision: like that forlorn billboard, a picture-perfect ideal risks being compromised by the double-edged forces of consumption.
2:Its location, Beidaihe, is well-established as both a summer retreat for Beijing’s political elite and a popular beach resort for domestic tourists.
3:Cranes crowd behind the dunes, supervising construction work by Aranya, a Chinese developer that also funded and built the museum.
4:Much as the Dune wants to attract visitors, a big influx might threaten its sustainable vision: like that forlorn billboard, a picture-perfect ideal risks being compromised by the double-edged forces of consumption.
1:娜布其的贡献是对博物馆本身的映射。
2:北戴河是北京政客精英的避暑胜地，也是深受国内游客欢迎的海滨度假胜地。
3:沙丘美术馆后面都是起重机，由中国开发商阿兰亚监督施工，该公司也出资建造了这座博物馆。
4:尽管沙丘美术馆很想吸引游客，但大量移民涌入可能会威胁到其可持续发展的愿景：就像那块被遗弃的广告牌，一个完美无瑕的理想可能会被消费的双刃剑所侵蚀。
2:北戴河是北京政客精英的避暑胜地，也是深受国内游客欢迎的海滨度假胜地。
3:沙丘美术馆后面都是起重机，由中国开发商阿兰亚监督施工，该公司也出资建造了这座博物馆。
4:尽管沙丘美术馆很想吸引游客，但大量移民涌入可能会威胁到其可持续发展的愿景：就像那块被遗弃的广告牌，一个完美无瑕的理想可能会被消费的双刃剑所侵蚀。
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