黄油小熊花砖街11号全球首展

黄油小熊花砖街11号全球首展

2026年09月24日-2027年01月04日

上海 chiK11美术馆

项目预告

项目传播

项目现场

作为人气治愈系 IP 的首次大型艺术实践，ButterBear 黄油小熊《花砖街 11 号》全球首展于 2026 年 9 月 24 日至 2027 年 1 月 24 日落地上海 chi K11 美术馆 B3 层。区别于 IP 项目以周边售卖为主的传统模式，本次展览以南洋滨海艺术酒店作为叙事内核，集结 11 位跨国艺术家联合共创，把 800㎡美术馆展厅改造为完整的虚构酒店世界，将 IP 形象放置于沉浸式故事场景之中，是潮流 IP 从二维形象向三维叙事艺术转化的重要尝试，为大众向治愈 IP 举办美术馆级展览提供参考范本，面向粉丝、年轻闺蜜群体与亲子家庭传递松弛治愈的情绪价值。在空间造型与现场制作层面，展厅依托美术馆既有白盒空间进行场景化重构，以复古花砖、棕榈绿植作为核心视觉元素，搭建酒店前台、秘密花园、泡泡浴室、客房、冥想室等九大主题房间，完整模拟酒店入住的游览动线。空间不局限于静态展品陈列，通过实景造景、色彩氛围、场景道具还原南洋度假质感，20 余套黄油小熊限定造型分散于各个主题房间，让 IP 形象成为场景叙事的一部分；展馆末端配套专属文创商店，实现观展体验到衍生品消费的自然过渡，整体制作兼顾场景沉浸感、拍照打卡属性与大流量观展的通行需求。

展览周期内，访客如同入住虚构酒店，穿梭九大主题房间打卡拍照，参与集章互动，近距离观赏全新 IP 造型，并可在商店选购玩偶、丝巾、发饰等展览独家限定衍生品。项目弱化直接商品推销，重在构建情绪体验，放大黄油小熊软萌治愈的 IP 气质。从传播营销维度来看，南洋复古的沉浸式实景具备极强社交传播力，极易驱动观众产出大量 UGC 打卡内容，粉丝圈层自发扩散进一步放大话题热度。展览依托 K11 美术馆的艺术语境提升 IP 的艺术质感，将观展体验、情感共鸣、文创衍生品销售相结合，完成 IP 形象深化、社交声量发酵、粉丝圈层运营与商业转化的完整营销闭环。

As the first large‑scale artistic endeavour of the popular healing‑themed IP, ButterBear’s global‑premiere exhibition “No.11 Floral Tile Road” runs from September 24, 2026 to January 24, 2027 at B3 floor of chi K11 Art Museum Shanghai. Different from conventional IP‑driven events focusing merely on merchandise sales, this exhibition adopts a narrative concept of a Nanyang coastal art hotel and is co‑created by eleven cross‑border artists. The 800‑square‑metre gallery is transformed into a fictional hotel world, translating 2‑D IP imagery into three‑dimensional narrative art. It sets a valuable reference for feel‑good pop‑culture IPs to hold museum‑grade exhibitions and delivers relaxing emotional value for fans, young friend groups and family visitors. In terms of spatial styling and on‑site production, the white‑box gallery is reconstructed into immersive scenarios with retro floral tiles and palm greenery as core visual motifs. Nine themed “hotel rooms” including reception lobby, secret garden, bubble bathroom, guest suite and meditation chamber are built to form a visiting route simulating real hotel check‑in experience. Instead of static display only, realistic set‑design, colour palette and props recreate Nanyang resort atmosphere. More than twenty newly‑customized ButterBear figures are distributed across themed zones and integrated into scene narration. A dedicated pop‑up gift shop is arranged at the exit, enabling natural transition from art appreciation to merchandise consumption. On‑site production balances immersive atmosphere, photo‑friendly effect and pedestrian circulation for heavy visitor flow.

During the exhibition, visitors wander through nine rooms just like hotel guests, join stamp‑collecting interactive tasks and view exclusive character designs. Limited‑edition derivatives including plush dolls, silk scarves and hair ornaments are available only at the on‑site store. Downplaying hard‑selling promotion, the project prioritizes emotional experience and amplifies ButterBear’s soft and soothing IP temperament. From marketing‑communication perspective, the retro‑Nanyang‑style immersive settings possess high social‑media potential and inspire massive visitor‑generated UGC content. Organic word‑of‑mouth within fan communities further boosts public discussion. Leveraging K11’s museum context, the exhibition elevates the IP’s artistic positioning. It combines immersive visiting experience, emotional resonance and derivative sales, forming a complete marketing closed‑loop covering IP‑image enrichment, social‑media buzz expansion, fan‑community operation and commercial conversion.

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