Liu Wei
刘炜

Frank Uytterhaegen and Pascale Geulleaume live between Gent, Belgium and Beijing, China.

Their work in China and the Far East dates back to 1985, when they established a consultancy and trading company.

Sharing an enthusiastic and multi-faceted interest in art, they soon realized they were living very special times in the rapidly opening China of the early '80s. Social and economic changes led to ~and in turn fed on~ artistic manifestations and developments. The intensity and the speed of the changes were probably never equaled in history. This resulted in understanding, misunderstanding, innovation and experimentation on all subjects and at all levels which, in turn, found its reflection in the arts. Their enthusiasm was further strengthened and driven by those changes and by the uniqueness of the moment. The high pace of developments has not diminished since those early days and the evolution of the local art scene has been just as powerful.

Throughout those years, they met a lot of artists, followed their careers and gradually started collecting their works.

Their relationship with long-term China resident Hans van Dijk, of Dutch origin dates from the latter part of the 80's. Hans van Dijk was a noted curator in China and had established a vast database on contemporary Chinese art and artists. He was integral to the founding of one of the first Beijing art galleries gathering modern Chinese art, the China Art Archives and Warehouse (CAAW), of which he was the curator.
Driven by their enthusiasm for modern art, they realized, in 1997, the exhibition '3x3 on Paper' in the Yanhuang Museum in Beijing. This exhibition reunited 3 groups of 3 Belgian artists from 3 consecutive generations.

In 1998, working within the framework of the 1998 International Year of Arts in China, they co-organised the Permeke exhibition with the Chinese Ministry of Culture. The exhibition, showing 80 works (paintings, drawings and 10 sculptures) of the famous Flemish expressionist, was shown in Beijing, Shanghai and Shenzhen.

The success of these two exhibitions motivated them to further pursue their long-standing goal of assembling an important collection of works from the most noted contemporary Chinese artists. Their ultimate goal in doing so was ~and still is~ to share those works and their enthusiasm for what's going on in China in the field of plastic arts.

In 2000, the Modern Chinese Art Foundation was officially established as a non-profit association with Frank Uytterhaegen and Pascale Geulleaume as directors and Hans van Dijk as curator. Hans van Dijk passed away in 2002.

傅兰克(Frank Uytterhaegen)和芭丝卡尔(Pascale Geulleaume)在比利时根特和中国北京之间往返和生活。他们在中国和远东的工作可以追溯到一九八五年. 当时他们成立了一家咨询和贸易公司.

在分享对艺术的热情和广泛兴趣的同时，他们马上意识到自己正处于中国八零年代初迅速开放的特殊时期。社会和经济的变化也使艺术得到了发展和变化,迅猛且是史无前例的。变革和试验导致所有领域在不同程度上出现了理解与误解，并通过艺术的形式表现出来。这一特殊时代进一步加强和驱动了人们的热情。早期的迅速发展势头没有减弱，艺术的演变仍然非常强劲。 

两人在这些年认识了很多艺术家， 并且关注这些艺术家的发展，逐渐开始 收藏他们的作品。

傅兰克和芭丝卡尔与长期居住在中国的荷兰人戴汉志 （Hans van  Dijk） 的合作从八零年代后期开始。戴汉志是中国知名的艺术馆长， 他建立了一 个中国当代艺术及艺术家的大型数据库，也参与创建了北京第一个中国现代艺术画廊和中国艺术文件仓库（CAAW），并担任艺术文件仓库的馆长。

 凭借对现代艺术的热情，两人于一九九七年策划了在北京炎黄艺术馆展出的 “3X3 on Paper”。该展览综合了三组比利时艺术家在三个连续的时代所创作 的作品。

 一九九八年是中国国际艺术年，他们与中国文化部联合举办了Permeke 展 览，在北京,上海和深圳展出了八十件法兰德斯知名的表现艺术家的作品（绘画和十件雕塑品）。

 这两次展览的成功促使他们更积极地追寻其长期目标，综合和收集中国当代最知名的艺术家的重要作品。这样做的最终目的是来分享这些作品以及他们对中国造型艺术的热情。

 二零零零年，中国现代艺术基金会正式成立，这是一个非盈利机构，傅兰克和芭丝卡尔担任基金会负责人，戴汉志是馆长。戴汉志于二零零二年去世。