黑膠唱片 轉動音樂的懷舊時光

記者陳立儀／報導

●黑膠唱片達人／林可（YES 007網路電台主持人）

復古風潮起 老唱片新魅力

如果以歌手特質來區分，林可說像是聲音渾厚低沉如蔡琴、黃小琥，飽滿高亢如蘇芮、張惠妹、林志炫、費玉清，中氣十足轉音技巧優的鳳飛飛、江蕙，迷幻情境式的黃鶯鶯、林宥嘉，清新民謠風的陳綺貞、張懸等，都具有挑戰黑膠唱片的實力，不過新一代歌手已經沒有這個機會囉！

在歐美至今都還有針對特定族群發行黑膠唱片，不過單價可不便宜，從6百元到2千元以上都有。除了發燒友和收藏家之外，台灣也因為復古風潮興起，加上近來有不少早年巨星復出開演唱會，喚起歌迷回頭收集偶像陳年舊作的欲望，包括大陸、香港、新加坡、馬來西亞都有不少買家。

黑膠唱片與CD的差別：
黑膠唱片→飽和且柔軟
CD→清晰而犀利

黑膠唱片（LP）的音樂格式是未經壓縮的類比式，播放出的聲音飽和且柔軟，但難免會有一點雜音；CD播放的數位音樂則以透過壓縮技術去除雜音，聲音聽起來清晰而犀利，相對卻少了點真實感。

聲音具有特殊性的歌手，使用簡單樂器的靈魂樂、爵士樂或鋼琴、小提琴演奏，甚至氣勢磅礡的古典交響樂，都很適合透過黑膠唱片來表現。大約從1970年起，因為錄音格式和隨身聽的風行，體積大、保存不易的黑膠唱片就逐漸被卡帶、CD、MP3所取代。

【2008/03/02 聯合報】

校園動態》英國學院聯手 耕耘文創產業

【經濟日報╱官如玉】

2008.03.02 04:04 am

為了發展英國文化創意產業，英國皇家藝術學院、倫敦帝國理工學院將聯手推動結合設計、工程科技、商業的「創新研究三角」計畫。

金融時報報導，2007年，英國皇家藝術學院、倫敦帝國理工學院斥資580萬英鎊，成立教育和創新事業「設計倫敦（Design London）」綜合研究中心，旨在鼓勵整合產品與服務開發與設計的教學和研究。

這也是一個跨系的計畫，帝國理工學院的工程部門和田中商學院、皇家藝術學院都參與這項計畫。

兩家大學充分發揮自身的學術優勢，開創了結合設計、工程科技、商業的「創新研究三角計畫」。在此「三角關係」中，皇家藝術學院將負責設計領域的教學，工程和科技方面則以帝國理工學院為主導，附屬的田中商學院則將負責商管教育。

「設計倫敦」上個月邀集幾位設計界大師和企業界經營者開會獻計，推出五年期計畫。

這項計畫有很大的企圖心；設計和創新課程，今年將成為帝國理工學院MBA學生的主修，也將提供獎學金協助皇家藝術學院的學生、帝國的工學院研究生研修商業技能。

跨科系研究也是一個重點。已成立一個育成中心，開始測試新的商業構想。

「設計倫敦」諮詢委員會主席詹姆士爵士說：「皇家藝術學院、帝國理工學院的工程部門以及田中商學院，同心協力投入一個對英國經濟發展攸關重要的領域。」

他強調，「倫敦設計」可望加強工程、設計科技和商業之間的整合，相當具有教育意義。

瑞銀 搶進藝術基金顧問業

【經濟日報╱記者黃啟菱／台北報導】

2008.03.02 03:47 am

藝術收藏風氣正盛，瑞士銀行台灣區董事總經理陳允懋昨（1）日表示，瑞銀今年將搶進藝術品顧問與諮詢服務，除了與畫廊業者合作、提供VIP客戶相關資訊之外，還會加強教育訓練，提高員工的美學素養，未來也不排除成立藝術基金。

由鄂爾多斯美術館館長胡永芬策展，印象畫廊與瑞士銀行共同舉辦的「抽象與材質的當代開拓」畫展，昨日下午開幕；共展出莊普、郭淑莉、顏頂生、楊智富、楊仁明、陳浚豪、吳東龍七位台灣當代藝術家，近40件作品。

陳允懋表示，瑞銀的客戶多是金字塔頂端人士，這群人所關注的，除了事業、財富、家庭之外，還包括生活品質；而藝術，正是生活中很重要的一塊。瑞銀在歐洲地區原本就有藝術銀行的機制，提供顧問、諮詢與藝術基金等服務。

陳允懋說，近來，瑞銀感受到台灣客戶藝術收藏與投資的需求動能非常強勁，切入相關服務，已是一定要走的路，因此選擇與印象畫廊合作、希望借助畫廊業者的專業。

針對本次展覽，瑞銀邀請了40名的VIP賞畫，印象畫廊並在展期中規劃「瑞銀VIP日」，屆時將有專人導覽。

當代藝術夯 畫廊搭順風車

【經濟日報╱記者黃啟菱／台北報導】

2008.03.02 03:47 am

這個周末，台北藝術味很濃。昨（1）日共有近十個畫廊推出新展覽，特別的是，當代藝術正火紅、在拍賣市場屢創高價，目前各展覽全都搭上這班順風車，聚焦華人當代藝術家。

由寒舍主人蔡辰洋所投資的寒舍空間，昨日展出「擦拭另一個空間的記憶：徐格麟個展」。寒舍董事長王定乾表示，台灣當代藝術家徐格麟的創作媒材，雖然是傳統的炭筆跟鉛筆，但徐格麟主張，黑白之間既能呈現光線、也能表現色彩，作品極具張力。

蔡辰洋的夫人賴英里，昨日也現身賞畫；賴英里說，她很欣賞徐格麟層次豐富、簡潔又細膩的畫風，此次經她「三顧茅廬」，徐格麟才願意讓寒舍舉辦他人生第一檔個展。

索卡藝術中心昨日推出「解放：溫普林80年代中國前衛藝術檔案」。索卡董事長蕭富元表示，中國當代藝術大約在1979 年改革開放後開始暖身，1985年以後，各地零星出現充滿儀式性的表演行為，後來，如溫普林、孫良、徐冰等行為藝術家陸續崛起。

行為藝術「秀完就沒了」，但相關的圖片或影像紀錄，仍具有同樣的藝術價值，此次索卡就展出了中國80年代重要行為藝術的紀錄。

由老牌拍賣行景薰樓轉投資的景薰樓藝文空間，昨日也推出「旅法畫家呂榮琛個展」。景薰樓董事長陳碧真說，台灣出生的呂榮琛旅法多年，受趙無極、朱德群兩位大師影響頗深，善於掌握光影的變化，蜷曲的線條與深鬱的色彩，很能應出藝術家本身的浪漫與懷舊；此次辦展，呂榮琛也特別回台參與開幕。

至於印象畫廊，昨日則推出「抽象與材質的當代開拓」，展出七位台灣當代藝術家作品。策展人胡永芬表示，此次挑選的藝術家，全都對藝術創作的材質有新想法，例如陳浚豪就選擇以圖釘作為創作媒材。特別的是，參展藝術家也都很年輕，其中陳浚豪才35歲、吳東龍更只有32歲。

最貴住宅在倫敦 5層樓49億

【聯合晚報╱編譯朱小明/綜合報導】

2008.03.02 03:24 pm

買主 烏克蘭女大亨、慈善家艾蓮娜

英國倫敦西南部肯辛頓一幢維多利亞風的五層透天厝最近易手，據說創下8000萬英鎊（約台幣49億1870萬元）天價，成為全球最貴住宅。買家相信是烏克蘭女大亨艾蓮娜‧法蘭丘克，她是烏克蘭前總統之女，也是烏克蘭出名的慈善家。

艾蓮娜一出手，立刻超越印度鋼鐵大王米塔爾以6700萬英鎊在肯辛頓宮花園置產的紀錄。不過她坐擁全球最貴房屋的紀錄恐怕保不了多久，預料數周內就會被打破。房地產商表示，貝爾格雷夫廣場一棟六層樓的豪宅即將推出巿場，定價9000萬英鎊（約台幣55億3350萬元）。

有地下泳池、三溫暖、戲院

艾蓮娜是企業家平丘克的妻子，她的大手筆顯示，儘管全球信貸風暴狂吹，高級房地產巿場似乎不受影響。但雖然花了大錢，她卻無法馬上入住，因為整修裝潢工程要到下個月才能完工。

這棟維多利亞式別墅坐落於上菲利莫爾園17號，原先是一所女子寄宿學校，1997年被一名華人買下，2006年以2000萬英鎊脫手給一家專營高級房地產的仲介公司。仲介商花了1000萬英鎊裝修，加建地下泳池、健身房、三溫暖和戲院。別墅中至少有10間臥室，並有類似電影「戰慄空間」的緊急避難室。整修工程耗時一年半，工程車整天進出，加上噪音震天，讓鄰居十分受不了。

外界對新屋主所知不多，英國媒體僅報導她是歌手艾爾頓強的朋友，2003年創辦了烏克蘭第一個慈善基金會，致力對抗愛滋病，在烏克蘭素有善名。

From vampire to Mr Nice Guy with a £125m splash of art

From The Sunday Times

March 2, 2008

PROFILE: Anthony d’Offay

Until last week the retired London art dealer Anthony d’Offay was seldom painted in a flattering light. Now depicted with a halo after his selfless bequest to the nation of 725 works of modern art, he was once memorably described as “dark and pale with a vampire air”. The notion of a vampire donating blood has left many critics scratching their heads.

It was plain altruism, the 68-year-old declared, that motivated his gift to the Tate and National Galleries of Scotland of works by artists including Andy Warhol and Damien Hirst. Although this trove is valued at about £125m, he will be paid only £26.5m – the amount it originally cost him.

“A lot of things were painful to part with, but the jewel for me is walking into a museum and seeing a school party there,” d’Offay said. His “defining experience” as an art student at Edinburgh University had been wandering around the city’s galleries, and he wanted to pass on this thrill to the young. Spurning the kudos of plastering his name over the collection – which will be known simply as “Artists Rooms” – he will work as its unpaid curator.

For some it is hard to square this act of generosity, unparalleled since the early 20th century, with the remote and disconcerting figure who become Europe’s preeminent dealer over a 30-year period, amassing great wealth at the Anthony d’Offay Gallery in Mayfair. He lorded it over the art world from his house in Regent’s Park – where he still lives with his wife Anne Seymour, an art historian and editor – until his retirement seven years ago.

Waldemar Januszczak, the Sunday Times art critic, remembers d’Offay as “this creepy guy who used to float around without making a sound at the back of the gallery. All those quips about him looking like the living dead were perfectly justified. But even though it was not welcoming or pleasant, I saw so many amazing shows at his place”.

On one occasion Januszczak was banned from the gallery by d’Offay after the critic’s review displeased Gilbert & George, the dealer’s protégés. By a twist of fate, the two performance artists later quit the gallery, describing d’Offay as a “fat c***”. Some art connoisseurs may have taken this as an oblique reference to Fat Chair, a wooden chair covered with a layer of fat by the German artist Joseph Beuys, whose work d’Offay has promoted and included in his donation. But they had miscounted the asterisks.

Dark rumours swirled around the gallery. One concerned regular sessions at which staff sat in a circle on the floor, conducting “mutual confessions of their deepest fantasies and fears” by one account, or transcendental meditation according to another. “He was a slightly quirky, eccentric, mysterious figure,” said an art dealer.

To his admirers, d’Offay is an exceptional man. Norman Rosenthal, the recently retired exhibitions secretary of the Royal Academy, collaborated with him on a number of occasions since the 1970s. “Anthony did extraordinary things for art in London,” he said. “He was one of the great dealers of the period.”

Beneath d’Offay’s enigmatic carapace, Rosenthal observed, is “a poetic character” whose “genuine love of art” belies his dealer’s stereotype of being interested only in money. “He’s quite a shy and secret person. He’s not the best public speaker. He’s very interested in India and mysticism. He collects Indian sculpture and lingams.

“He has a vegetarian, homeopathic streak to him. I think he regards arts as a kind of societal homeopathy.” As a dealer, Rosenthal said, d’Offay was “unbelievably driven, never off an aeroplane. He appeared to be obsessed. For him it was almost like a religion”.

D’Offay’s recent remarks appeared to bear this out: “In a time when, for many people in this country, religion no longer fulfils the role that it did 50-100 years ago, what you believe in becomes very important. Art and creativity become something you can believe in.”

For the churlish, there is the question of £14m tax owed by d’Offay and written off by the government as part of the deal. D’Offay dismissed the matter as of no consequence: “I have no idea about tax. I’m interested in education and art.”

In Rosenthal’s opinion, d’Offay’s philanthropy is mutually beneficial and will not leave him out of pocket: “In terms of today’s art market, probably it’s a very advantageous deal.”

David Barrie, director of the Art Fund, which gave £1m towards the purchase, said d’Offay’s benefit would be to “have a say for as long as he is alive on where the collection is displayed. Anthony also wants to be seen now as Mr Nice Guy”.

Much of the praise for his donation, which also includes works by Robert Mapplethorpe, Diane Arbus and Ian Hamilton Finlay, centres on the belief that d’Offay has plugged a gap in the nation’s art collection. For decades, Britain’s gallery directors failed to buy works by the practitioners of contemporary and modern art, even when they were relatively affordable. Now the best are beyond the reach of our national collections. Britain has a few Picassos and no Matisses to speak of amid an embarrassing dearth of early 20th-century artists.

So shouldn’t we erect a plinth for d’Offay? A small one, says Januszczak: “The whole thing is being overhyped. It’s not a collection that will radically change the national holdings. There was such a collection – Charles Saatchi’s collection of modern British art from the Damien Hirst era – but the Tate let it slip through their fingers. Since Saatchi sold all his stuff, the Tate has been scrabbling around trying to make up for its mistake. This is second best. There are some interesting things in it, but it isn’t going to fill the chasm.”

Born in Sheffield in 1940, d’Offay grew up in Leicester, his father a surgeon and his mother an antiques dealer. Arriving in Scotland to study in the 1960s was a revelation. It was “the first time I’d been in a great city”, he recalled. Edinburgh was “a beautiful, romantic city, of a size that you can feel belongs to you”. He began collecting in 1962, buying a piece by the Scottish artist Martin Boyce. He started dealing in manuscripts and drawings after buying the books and poems of two obscure poets from Oscar Wilde’s circle, and in 1969 he moved to London’s Mayfair where he revived forgotten artistic figures from the Blooomsbury circle. Through the 1970s he held defining shows by the likes of Lucian Freud, Gilbert & George and Eduardo Paolozzi.

In 1977 he married Anne, then a curator at the Tate. Their son Timothy runs a tearoom where he offers exotic brews and exhibits historic postcards from his father’s collection. The Anthony D’Offay Gallery, opened in 1980, rapidly became one of the most important exhibition spaces in London, with landmark shows of contemporary artists. His participation in the Royal Academy’s New Spirit of Painting show in 1981 had led him – and Saatchi – to “utterly change their art agendas”, Rosenthal says.

Part of his talent was coaxing the best work from artists. He met Warhol in 1980, when the American artist’s reputation was suffering from claims that he had abandoned the avant-garde to become a society figure. “What he really needed to do was a significant new body of work,” d’Offay recalled. “I felt it was a responsibility for me to produce a successful show.”

It was not until five years later, while staying with Beuys and his family in Naples, that d’Offay saw a large portrait of his host by Warhol. “It was in that second I realised that, as a painter of portraits, Warhol had no equal in the second half of the 20th century, or perhaps all of the 20th century.” The resulting show in London was a sensation.

In the early 1990s he began representing young British artists such as Rachel Whiteread and Richard Patterson. Then the music abruptly stopped. In 2001 d’Offay announced he was closing the business, then turning over of £35m. It had the impact of an emperor’s abdication. Some said he had lost his spark, sensing that the punky, noisy circus surrounding Hirst made the elder statesman’s hallowed approach to art seem old-fashioned.

D’Offay’s explanation was elliptical: “I am 62 in January and not getting any younger. I would rather step down when the gallery is at its height.” He did not need a gallery to continue dealing, and went on collecting. The effort took him and his wife seven years.

His astonishing act of generosity has not only highlighted the lamentable gaps in our national collections, but has spurred two other collectors to pledge further donations. Among d’Offay’s regrets, it’s a fair bet that anonymity will elude him.

施振榮 打造藝企平台

【經濟日報╱記者鄭秋霜／台北報導】

2008.03.01 03:26 am

十大傑出青年當選人聯誼會（簡稱十傑聯誼會）會長施振榮打造「藝企合作」平台，昨（29）日號召企業界及藝文界人士共襄盛舉，包括林懷民、朱宗慶、賴聲川、魏海敏、孫翠鳳及陳瑞斌等六位歷屆表演藝術類十傑當選人齊向企業界提案，希望共同提升藝文風氣。

施振榮表示，他願意擔任藝企合作的「超級推銷員」，未來將親自把藝文界人士的相關提案，推薦給企業界友人；十傑聯誼會也已把相關提案簡介，印製1,000份相關宣傳資料交給施振榮。

為了讓企業人士更深入了解這些表演藝術大師與藝文團體的提案，並提供藝企彼此近距離接觸機會，施振榮昨晚舉辦音樂餐會，邀請近60位企業友人與會，地點選在今天即將重新開幕的鳳甲美術館舉辦，並由國際鋼琴大師陳瑞斌為與會企業人士演奏鋼琴，做為藝企合作系列活動的首航。

孫翠鳳說，她看到這個合作案立刻眼睛為之一亮，她相信企業與藝術結合，可以為企業帶來附加價值。