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| HONG KONG — M+, Hong Kong’s sprawling new contemporary art museum, ran into problems from the start. Billed as Asia’s premier visual institution, it was four years behind schedule and an undisclosed amount over budget. Several top executives departed during the decade-long development period. At one point, an 80-foot-wide sinkhole formed on the construction site. | 香港——从一开始，香港气势恢宏的新当代艺术博物馆M+就麻烦不断。这个被誉为亚洲首屈一指的视觉机构，开幕时间比原计划晚了四年，而且还超出了预算，具体数额不详。在长达10年的建设期间，已有数名高管离职。工地一度出现过一个约24米宽的地陷。 |
| As the museum opened on Friday, its greatest challenge was just materializing: the threat of censorship from the Chinese Communist Party. | 博物馆于周五开幕，此时该馆面临的最大挑战正在成为现实：来自中国共产党的审查威胁。 |
| M+ envisioned itself as a world-class institution that could make its home city a cultural heavyweight, but those ambitions are now directly clashing with a new national security law imposed by Beijing to crush dissent. | M+设想自己是一个世界级的机构，可以让其所在城市成为文化重地，但这些理想现在直接碰撞到了北京为压制异议而实施的新国安法。 |
| Even before the opening, pro-Beijing figures criticized pieces in the M+ collection as an insult to China and called for them to be banned. Officials have promised to scrutinize every exhibition for illegal content. | 甚至在开幕之前，亲北京的人士就批评M+馆藏中有作品辱华，并呼吁将它们撤下。官员们承诺会检查每个展览是否存在非法内容。 |
| “The opening of M+ does not mean that artistic expression is above the law,” Henry Tang, the chairman of the West Kowloon Cultural District Authority, which oversees M+, told reporters during a media preview of the museum on Thursday. “It is not.” | “M+的开幕并不意味着艺术表达凌驾于法律之上。并不是这样，”负责监管M+的西九文化区管理局董事局主席唐英年周四在博物馆的媒体预览中告诉记者。 |
| M+’s arrival is a major event for Hong Kong and the art world. At 700,000 square feet, it is one of the largest contemporary art museums in the world, nearly twice the size of London’s Tate Modern. Its inverted-T-shaped building, designed by the renowned architectural firm Herzog & de Meuron, is one of the most visible features on the city’s Victoria Harbor waterfront. It boasts, among its 8,000 works, one of the world’s most comprehensive collections of contemporary Chinese art. | M+博物馆的落成对香港和艺术界来说都是一件大事。该馆占地6.5万平方米，是世界上最大的当代艺术博物馆之一，几乎是伦敦泰特现代美术馆的两倍。该博物馆建筑呈倒过来的字母T形状，由著名建筑师事务所赫尔佐格与德梅隆设计，是香港维多利亚港的地标之一。馆内拥有8000多件藏品，其中包括了世界上最全面的中国当代艺术收藏之一。 |
| Excitement is high. More than 76,000 people reserved tickets before opening day, according to the museum. | 人们对此非常兴奋。据博物馆称，在开幕日之前，已有超过7.6万人预订了门票。 |
| Given the political moment in which it has arrived, M+’s opening has become as much about a physical space as the question that it embodies: Where does a museum — and art more broadly — fit under China’s hardening grip? | M+博物馆的开幕——考虑到该馆所处的政治时刻——不但是一个物理空间的活动，也成为了其代表的问题：博物馆以及更广泛的艺术在中国的强硬控制之下处于什么位置？ |
| Some of the best-known works in the M+ collection were created by exiled dissidents, such as Ai Weiwei, or draw upon topics that are taboo in the mainland, including the government’s 1989 Tiananmen Square massacre of peaceful protesters. Hong Kong, as a semiautonomous territory, was perhaps the only place on Chinese soil where those topics could be openly discussed. | M+系列中一些最著名的作品是由艾未未等流亡异见人士创作的，或者表现的是大陆禁忌话题，包括1989年政府在天安门广场对和平抗议者的屠杀。作为半自治领土，香港或许是中国土地上唯一可以公开讨论这些话题的地方。 |
| “Contemporary art doesn’t project the image of China that official China wants to have projected,” Uli Sigg, a prominent Swiss collector whose donations form the core of M+’s holdings, said in an interview earlier this year. | “当代艺术并不会展现中国官方希望展现的中国形象，”瑞士著名收藏家乌利·希克在今年早些时候接受采访时表示。他的捐赠构成了M+藏品的核心。 |
| From the beginning, the vision for M+ was tied to a specific vision of Hong Kong. The city, which dubs itself “Asia’s world city,” was pitched as the ideal stage to showcase the region’s art to an international audience. The museum, in turn, would help the city shed its reputation as culturally sterile. | 从一开始，M+的愿景就与香港的一个具体愿景紧密相连。自称为“亚洲世界城市”，香港被宣传为向国际观众展示该地区艺术的理想舞台。博物馆转而将帮助这座城市摆脱文化贫瘠的名声。 |
| Hong Kong’s unique political status was also crucial, giving the museum the opportunity to recount the country’s history in potentially critical ways. | 香港独特的政治地位也至关重要，这让博物馆有机会可以用批判性的方式讲述这个国家的历史。 |
| “We have the freedom of speech here,” Lars Nittve, the first executive director of M+, said in 2011. “We can show things that can’t be shown in mainland China.” | “我们在这里有言论自由，”M+的第一任执行馆长李立伟在2011年表示，“我们可以展示在中国大陆无法展示的东西。” |
| The difficulties began almost immediately. | 困难几乎立刻就开始了。 |
| The museum was supposed to open in 2017. But construction delays and other logistical problems pushed the date back to 2019, then 2020, then 2021. Several executives stepped down, including Mr. Nittve. The museum’s main contractor was fired over a financial dispute. In 2019, flooding opened a massive sinkhole. | 该博物馆原定于2017年开放。但施工延误和其他后勤问题将日期推迟到2019年，然后是2020年，再到2021年。包括李立伟在内的几位高管离职。博物馆的主要承包商因财务纠纷而被解雇。2019年，地面漏水，出现了一个巨大的塌陷。 |
| Some Hong Kong artists criticized the museum’s international leadership, calling for more local representation. Lawmakers questioned the building’s price tag of $760 million. | 一些香港艺术家批评博物馆的国际领导层，呼吁增加本地代表。立法者质疑该建筑约48亿人民币的造价。 |
| Perhaps the most fundamental concern was whether the promise of Hong Kong as a haven of free expression could hold. | 或许最根本的担忧，是香港作为言论自由天堂的承诺能否实现。 |
| Over the past decade, as waves of anti-Beijing protests have roiled the city, the Chinese government began tightening its grip on the city. Booksellers of political fare have been kidnapped. Art installations poking at Chinese rule were axed. | 在过去10年中，随着反北京抗议浪潮席卷这座城市，中国政府开始加强对这座城市的控制。经营政治书籍的书商被绑架。抨击中国统治的艺术装置被撤走。 |
| In 2016, M+ organized an exhibition to give the city a preview of the still-unfinished museum. The show had already toured Europe, under the name “Right is Wrong.” | 2016年，M+组织了一场展览，让市民预览尚未完工的博物馆。这场展览已经在欧洲以“正确就是错误”的名字巡展。 |
| When the show opened in Hong Kong, the works remained the same, but its name was decidedly less provocative: “M+ Sigg Collection: Four Decades of Chinese Contemporary Art.” | 当展览在香港开幕时，作品内容没有发生变化，但作品名字显然没有那么挑衅：“M+希克藏品：中国当代艺术40年”。 |
| The show’s curator, Pi Li, said at the time that museum committee members had objected to the title. Of whether the museum could still have free speech, he said, “you must continually test it, maintain it and protect it.” | 该展览的策展人皮力当时表示，有博物馆委员会成员对这个标题表示了反对。至于博物馆是否还能享有言论自由，他说，“你必须不断地试探、维护和保护它。” |
| When museum officials announced this year that M+ would finally open in November, the threat of censorship had grown more concrete. | 当博物馆官员今年宣布M+最终将于11月开放时，审查制度的威胁变得更加确凿。 |
| Beijing imposed its security law last summer, in response to months of fierce, at times violent protests in 2019. It gives the government sweeping powers to prosecute any speech it deems subversive. Nearly all the leaders of the pro-democracy camp have been arrested or have gone into exile. Civil society has crumbled. | 北京去年夏天实施了安全法，以应对2019年持续数月的激烈抗议，有时甚至是暴力抗议。该法赋予政府广泛的权力，可以起诉任何它认为有颠覆性言论的人。几乎所有民主阵营的领导人都被逮捕或流亡。公民社会已经瓦解。 |
| In March, a pro-Beijing lawmaker, Eunice Yung, accused parts of the M+ collection of spreading “hatred” against China. She singled out a photograph by Mr. Ai, of his middle finger raised before Beijing’s Tiananmen Square. | 今年3月，亲北京的议员容海恩指责M+的部分作品散布对中国的“仇恨”。她点明是艾未未在北京天安门广场举起中指的那张照片。 |
| M+ eventually removed Mr. Ai’s photograph from its online archive, citing a legal review, and has not said whether it will ever be shown. | M+最终以合法性审查为由从其网络目录中删除了艾未未的照片，并没有说明是否会将其展出。 |
| Other artistic creations have faced similar attacks. The University of Hong Kong is working to remove a campus sculpture commemorating the Tiananmen massacre. The government also recently expanded its film censorship powers. | 其他艺术创作也面临类似的攻击。香港大学正在准备拆除其校园内纪念天安门屠杀的雕塑。政府最近还扩大了其电影审查权。 |
| All of which means that M+, long before it opened, was freighted with a symbolism far beyond the cultural realm. | 所有这一切都意味着，早在开幕前，M+就承载着远远超出文化领域的象征意义。 |
| “The international stature of Hong Kong has been dwindling,” said Ada Wong, a prominent arts advocate and former member of the M+ advisory committee. Of M+, she said, “we need something to tell people that Hong Kong still has a future.” | “香港的国际地位一直在下降，”著名艺术倡导者、前M+顾问委员会成员黄英琦说。对于M+，她说，“我们需要告诉人们香港仍有未来。” |
| Many affiliated with M+ have lamented that the focus on politics has overshadowed the breadth and ambition of the museum. At Thursday’s preview, officials themselves teetered between trying to redirect visitors’ attention and addressing the political concerns head-on. | 许多与M+有关联的人感叹，人们对政治的关注盖过了博物馆的深度和理想。在周四的预览中，在试图转移观众的注意力和直面政治问题之间，官员们自己都摇摆不定。 |
| In remarks outside the second-floor galleries, the museum’s current director, Suhanya Raffel, made no mention of the political upheaval or the delays, focusing on an overview of the opening exhibition. | 在二楼画廊外的讲话中，博物馆现任馆长华安雅没有提及政治动荡或开幕的延误，而是重点介绍了开幕展览的概况。 |
| Mr. Tang, the cultural district’s chairman, at first acknowledged the pressure on the museum only obliquely, asking for “openness and tolerance.” Yet when pressed by reporters about Mr. Ai’s photograph, Mr. Tang — a former high-ranking government official — said it had become a symbol of what he called the “riots” of 2019. He also suggested that in not exhibiting Mr. Ai’s photograph, M+ was no different from overseas museums that choose not to show racist artwork. | 西九龙文化区主席唐英年起初只是间接地承认了博物馆的压力，要求“开放和包容”。然而，当被记者追问关于艾未未的照片时，曾任政府高级官员的唐英年表示，该照片已成为他所说的2019年“骚乱”的象征。他还表示，M+不展示艾未未的照片与海外博物馆选择不展示种族主义艺术品没什么不同。 |
| The exhibits themselves also seemed to seek a delicate balance. Though Mr. Ai’s middle finger photograph was not displayed, two of his other works were. Another painting, by the Chinese artist Wang Xingwei, was inspired by a photograph taken during the Tiananmen massacre. An exhibit focused on Hong Kong art featured a sculpture by Kacey Wong, an outspoken artist who earlier this year emigrated to Taiwan, citing the political crackdown. | 展览本身似乎也在寻求一种微妙的平衡。虽然没有展示艾未未的中指照，但展出了他的另外两幅作品。还有一幅中国艺术家王兴伟的画，灵感来自天安门屠杀期间拍摄的一张照片。一场专注于香港艺术的展览展出了黄国才的雕塑，这位直言不讳的艺术家今年早些时候以政治镇压为由移居台湾。 |
| Many of the more than 1,500 works on display had no overt political overtones. One major acquisition was an entire sushi bar, transported from Tokyo, with curators urging viewers to consider commercial spaces as art, too. Furniture, architectural models and a chess set by Yoko Ono were also on display, as part of the museum’s goal of expanding the definition of “visual culture.” | 展出的1500多件作品中，许多不具明显的政治色彩。其中一项重要购藏是从东京运来的一个完整的寿司吧，策展人敦促观众将商业空间也视为艺术。展览中包括家具、建筑模型和小野洋子的一盘棋，作为博物馆扩大“视觉文化”定义的目标的一部分。 |
| Wong Ka Ying, a local artist and curator, said she was impressed by curators’ efforts to present critiques of Hong Kong society, even if in less provocative ways. She cited the inclusion of pieces addressing the city’s perpetual housing crisis. | 本地艺术家兼策展人黄嘉瀛表示，策展人努力呈现对香港社会的批评，即使不那么具有挑衅性，也给她留下了深刻的印象。她提到了展览包括一个探讨香港长期的住房危机的作品。 |
| “It’s safe, but it also touched on humanity and social issues,” she said. “I’m still looking forward to what they can do under so many constraints.” | “它是安全的，但它也触及了人性和社会问题，”她说。“我仍然期待看到他们在重重限制下能做些什么。” |
| Many obstacles lie ahead. Officials have not yet disclosed a final price tag for the building, though they have acknowledged that they blew past their budget. Mr. Tang said that the entire cultural district’s financial situation was “grave,” and that a continuing lack of tourists, given Hong Kong’s strict pandemic-related border controls, would not help. | 未来还有许多障碍。官员们尚未透露这座建筑的最终造价，但他们承认已经超出了预算。唐英年说，整个文化区的财务状况“很糟糕”，加之香港严格的防疫边境管制，长期缺乏游客更是雪上加霜。 |
| But Mr. Sigg, the collector behind the museum, said that the opening might at least quiet some of the loudest criticism, which came before people had even seen the museum. In an interview shortly before the opening, he said he welcomed discussion about the art — but only if people had evaluated it for themselves. | 但支持博物馆的收藏家希克说，开幕式至少可以平息一些声浪最大的批评，这些批评甚至在人们还没有看到博物馆之前就出现了。在开幕前不久的一次采访中，他说他欢迎人们进行关于艺术的讨论——但前提是人们亲自品评了这些艺术。 |
| “It should make us have a debate and discourse,” he said. “But of course my wish is for an informed debate. A debate with people who are not informed is very difficult.” | “它应该足够让我们进行辩论和讨论，”他说。“但当然，我的愿望是进行一场各方都知悉背景的辩论。与不知情的人进行辩论是非常困难的。” |
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