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《当好听众,为他人点赞》专访IAC理事-中国代表 周光真

时间:2019-02-25 14:32来源:韩国记者站 作者:陶瓷研究中华陶艺 点击1:
CAC驻韩国记者站
策划:陈恩泽Sponsor: Ben Chen
口述:周光真 Interviewee: Guangzhen Zhou
记者:余晖Journalist: Sophia Yu
摄影、摄像:陈旺杰Camera: Jason Chen
 









 
江山无限

您是第几次来韩国?这次受邀来韩国的主要行程有哪些?预期达到怎样的交流效果?能否与我们分享相关信息?
May we share any information about how many times have you been to Korea? What are the major itineraries of this invited trip to Korea? What communication effect do you expect to achieve?


 
一直希望赴韩国看看,只是由于语言不通而没有成行。韩国仁川机场距离上海大约两小时。太近了,觉得随时都可以去。这次受韩国陶瓷基金会邀请担任京畿道国际陶瓷双年展的国际评委。历年来,京畿道陶艺双年展的宣传做得滴水不漏。国际上主要的陶艺杂志都有他们的广告,美国陶瓷艺术教育年会每年都有他们的展位。记得2011年和2013年我都去过韩国,主要是为了参观京畿道双年展。
 
Answer: Despite that I had always hoped to visit Korea, I didn’t make it because of the language barrier. It is merely a two-hour flight between Incheon Airport in South Korea and Shanghai, which is so close that it feels like it can be reached at any time. This time, I was invited by Korea Ceramic Foundation to serve as the international judge of the Gyeonggi-do International Ceramic Biennale. The publicity of the Biennial Ceramic Art Exhibition in Gyeonggi-do over the years is impeccable. In addition to its advertisements in major international ceramics magazines, it has booths at the annual meeting of American Ceramic Arts Education. I remember when I went to Korea in 2011 and 2013, it was mainly for the purpose of visiting the Biennale of Gyeonggi-do.
 
目前我正在撰写一部《世界陶瓷文化的里程碑》,因此渴望对韩国陶瓷历史的加深学习和了解。也就是为此11月26日我下飞机的当天就去了首尔的国家中央博物馆。部分国内失去的中原文化与习俗却可以在韩国见到。感慨万千……
 
As I am currently working on a book entitled The Milestones of World Ceramic Culture, I wish to deepen my study and understanding of Korean ceramic history. That's why I went to Seoul's National Central Museum the day I got off the plane on November 26th. Some of the central plains culture and customs that have been lost in China can be seen in Korea, which made me sign with regret...
 
您觉得韩国当代陶艺都有哪些艺术特征?
 
In your opinion, what are the artistic features of Korean contemporary ceramics?
 
我相信:一个民族或一个地区,一个时代的陶艺发展与当地高等院校教授的艺术风格与审美具有很大关系。整体而言,韩国当代陶艺发展方向是多元的,是整个世界陶艺大家庭的重要组成部分。韩国陶瓷历史上最为著名的有很多种:青瓷、青瓷象嵌-镶嵌、粉青砂器、白瓷、白瓷满月罐等等。
 
I have always believed that the development of ceramics in a certain era is closely related to the artistic style and aesthetics taught by local colleges and universities. On the whole, Korean contemporary ceramics assumes a diversified development direction and is included as an essential part of the world's ceramics art. Historically, Korea has produced a great number of famous ceramic types, such as celadon, celadon inlay, Buncheong, white porcelain, white porcelain Moon-Jar and, etc..
 
这次担任京畿道国际陶瓷双年展对韩国的当代陶艺有了一些了解。韩国当代陶艺中时常可以看到相关的工艺传承或联系,同时我们可以看到韩国陶艺家对材料工艺的研究与突破,以及观念的创新。韩国人口不多,但是竟然有这么多的优秀陶艺家令我惊讶!因此我希望了解韩国的陶艺教学体系。听说:韩国一些大学的陶艺专业都有自己的方向。例如:檀国大学-传统陶艺,首尔大学-陶艺理论研究,弘毅大学-环境陶艺(当代陶艺),梨花女子大学-陶瓷产品设计,等等。
 
The participation in the International Ceramic Biennale in Gyeonggi-do gave me some insight into Korean contemporary ceramics. Apart from the related craft inheritance or connection, Korean ceramists' research, breakthroughs and innovations in materials and crafts were also frequently found in Korea's contemporary ceramics. In view of the small population of Korea, I am quite surprised that there are so many excellent pottery artists here! Therefore, I hope to improve my understanding of Korean ceramic art teaching system. I've heard that some Korean universities have their own specialties in ceramics, such as the traditional ceramics of Dankook University, the Theoretical Research of Ceramics of Seoul University, the Environmental Ceramics (Contemporary Ceramics) of Hongik University, the Ceramic Product Design of Ewha Womans University and so forth.
 
您认为韩国的当代陶艺发展模式有何长处?
 
What do you think are the advantages of the development model of Korean contemporary ceramics?
 
 
我觉得自己更象一个学生,来韩国补课。因此很难讨论韩国陶艺的发展模式。我更希望当一名认真学习的听众。
 
A: Because I regard myself more as a student who comes to Korea to make up lessons, it is very difficult for me to express my views on the development model of Korean ceramics, and I prefer to be an attentive listener.
 
能否谈谈您访问韩国的总体感想?
 
Can you talk about your overall experience of this visit to Korea?
 
国内朋友熟悉韩国是1992年中韩建交开始的。看到大韩民国的国旗是一太极图,感到十分亲切。中日韩东亚三国同属于一个文化圈,文化习俗具有十分的相似性。韩国位于中国与日本之间。历史上许多中国陶瓷工艺都是经由韩国传到了日本。
 
The Chinese people's familiarity with Korea began with the establishment of diplomatic relations between China and Korea in 1992. I feel very cordial upon seeing that the national flag of the Republic of Korea is an image of Tai-ji (Yin-Yang). As China, Japan and Korea share the same cultural circle, their cultural customs demonstrate great similarity. Located between China and Japan, a number of Chinese ceramic crafts have been spread to Japan through Korea in history.
 
我们见证了四小龙的崛起的时代,韩流文化传播。《大长今》,鸟叔、江南Style……
 
We have witnessed the rise of the four Asian tigers and the spread of Korean culture, such as Dae Jang Geum, Psy, Gangnan Style, etc.
 
1990年代旧金山至上海不是每天有直飞航班。因此我经常坐韩亚航空。在飞机上还看到不少印度、菲律宾等东南亚地区的转机旅客。仁川机场实际上就是北美洲与亚洲之间最重要的航空枢纽。如今韩国京畿道陶瓷双年展已经成为世界陶瓷艺术界的奥斯卡;也是韩流在世界陶艺界的体现。我们期待利川成为东亚地区的陶瓷文化中心和东亚文化产业中心。
 
Since there were no direct flights from San Francisco to Shanghai every day in the 1990s, I used to fly on Asiana Airlines and saw a great number of transfer passengers from India, the Philippines and other Southeast Asian regions on board. In fact, Incheon Airport is the prominent aviation hub between North America and Asia. Nowadays, the Biennial Ceramic Exhibition in Gyeonggi-do, Korea has been regarded as the Oscar of the world ceramic art circle and the embodiment of Korean culture in the world ceramic art circle. We are looking forward that Lichuan becomes both the ceramic culture center and the cultural industry center in East Asia.
 
目前我的周围也有越来越多的韩国朋友。每次赴韩国的时候都受到许多朋友的帮助,担任向导甚至驾驶员。他们有的是曾经赴韩的留学生,也有的是韩国的陶艺家、老师或教授,希望借此向各位新老朋友致以诚挚的感谢!
 
At present, I am making an increasing number of Korean friends and receiving their help every time I go to Korea. They will act as my guides or even drivers. Some of them are foreign students who have been to Korea, while some are Korean pottery artists, teachers or professors. I would like to take this opportunity to express my sincere gratitude to all old and new friends.

 
从1999年您就开始组织中国陶艺家赴美参加NCECA-美国陶艺教育年会,国外艺术家访问中国。在从事近20年的国际陶艺交流促进工作中,您获得了哪些珍贵的经验?
 
Considering that you have engaged in the organization of Chinese ceramists to attend NCECA (The National Council on Education for the Ceramic Arts) and foreign artists to visit China since 1999, what valuable experience have you obtained from the international ceramic exchange and promotion in the past 20 years?
 
 
我从九十年代开始邀请了第一批中国陶艺家去美国交流,差不多每年都有国内的朋友参加,同时也有美国的朋友参加交流。我们要意识到文化交流应该是双向的,我们讲好中国故事,但同时要学会当好听众,为他人点赞,不断扩大朋友圈。我这次到韩国是来学习,充电,补课的,同时为了和韩国交流,我要先了解韩国陶瓷艺术的发展现状,并介绍中国陶瓷艺术的发展现状。我也带了一些中国的资料跟同行分享,相互尊重,当好听众,扩大朋友圈,为人家点赞。作为陶瓷艺术家,出国的时候应该先了解对方国家的相关情况,做好听众比方说参观国外的博物馆,不要一跑进去就问中国的陶瓷在哪里?对其他文化的陶瓷不关心。这不是我们作为一个大国的陶瓷文化工作者的气度。相互尊重,平等交流,做到良性循环很重要。这是我的一些体会。
 
Since the 1990s, I have invited the first batch of Chinese ceramic artists to the United States for exchanges, which attracted the participation of domestic and American friends almost every year. We must realize that cultural exchanges should be commutative, that is, while telling Chinese stories well, we should also learn to listen, to praise others and to expand the circle of our friendship. My trip to Korea this time is aimed at learning, charging and making up lessons. At the same time, in order to carry out more effective exchanges with the Korean, I should firstly establish certain understanding of the development status of Korean ceramic art, and then make an introduction of the development of Chinese ceramic art. In addition, I brought some documents about China to share with my peers in the hope of achieving mutual respect, being a competent listener, expanding the circle of friends and thumb up for others. Ceramic artists should firstly get to know the country and be a listener before going abroad. For example, when we visiting foreign museums, you should not ask where Chinese ceramics are once entering. Such indifference to ceramics in other cultures is not expected to be a good attitude of ceramics artiest from a great country. On the contrary, we should achieve a virtuous circle through mutual respect and equal exchange. The above is some of my experience.
 
作为陶艺领域的策展人,您认为把中国的当代陶艺还有哪些发展空间?
 
As a curator in the field of ceramics, what do you think of the development of contemporary Chinese ceramics?
 
这个话题很大,可以写一本书了。
首先,中国现当代陶艺大概肇始自80年代。尤其90年代初到2000年开始是中国经济起步的时代,大学扩招给了很多人机会,培养出了很多艺术类人才。假如我们回看90年代的展览,全中国可能数不出一百个职业陶艺家。而且大部分可能都没有自己的工作室,要做陶瓷还到到产区的工厂去做。现在很多的陶艺家不光有自己的工作室,甚至有漂亮的展厅。这跟中国的经济发展有很大关系。
 
This is a huge topic that can even be elaborated by writing a book.
 
First of all, modern and contemporary Chinese ceramics probably originated in the 1980s, especially in the early 1990s to 2000, when China's economy boomed. At this time, the university enrollment expansion cultivated a large number of artistic talents by providing opportunities for many people. When we look back at the exhibitions in the 1990s, there may not be more than 100 professional ceramists throughout the country, most of which have to go to factory to produce ceramics in the producing areas because they may not own their own studios. But now, in addition to have their own studios, a number of ceramic artists today also own beautiful exhibition halls, which are inseparable from China's economic development.
 
而现在,互联网给大家提供了更多机会。在网上可以搜索几乎所有艺术家的作品,还能了解艺术家的背景,作品评论等,资讯非常丰富。未来的发展会是怎样?每个国家每个文化可能都有特定的背景,不一定完全去复制别人,但是我们确实也有很多创新的空间。因此我们经常讲到两个事情,一个是传承,一个是创新。我们不能光说传承忘了创新,也不能说创新完全是离开自己的这个文化的传承。脱离根基去去创新可能也没有意义。最好是能够既有创新,又不失去我们文化的根。
 
Nowadays, however, the Internet is providing more opportunities for the public. In addition to almost all the works of artists, we can also search the artist's background and comments on the works on the Internet, which are considerable rich information. What's the future development? Since it is not necessary to copy others completely in that each country and culture may possess its own specific background, there is indeed a great space for innovation for us. Therefore, we often refer to two terms: inheritance and innovation. We should neither merely focus on inheritance while ignoring innovation, nor can we completely wipe out inheritance of our culture to innovate. Innovation without foundation might be meaningless, it is ideal to focus on innovation without losing the foundation of our culture.
 
您曾说世界上每年都有许多陶瓷艺术专业活动,而这些活动中到处都只看到高鼻子蓝眼睛的白人在讨论陶瓷艺术,黑头发的黄种人往往人数有限。您认为如何提高中国陶艺界人士在国际舞台上的参与度和能见度?
 
You mentioned that a number of professional ceramics art activities are held every year all over the world, and white people with high nose and blue eyes are discussing ceramics art everywhere, while rarely yellow people with black hair. How to improve the participation and visibility of Chinese ceramic artists in the international congress?

 
我讲的这句话有一个语言背景,在2010年的时候,美国圣塔菲举办了陶艺评论研讨会。这个理论研讨会是陶艺界最大,最高级别的会议,学术要求很高。由美国陶瓷艺术教育年会主办。我仔细看了一下,整个大会会场就我一个黑头发黄皮肤的亚洲人。因为主办方是美国,会议用的是英语,可能跟语言也有关系。中国的景德镇陶瓷大学以及各陶瓷产区也都在举办陶艺相关的研讨会,但是就学术高度来说,可能还是有一定差距。我想中国的陶艺理论批评发展尚存空间。
 
The context of my words is the Ceramics Review Seminar held in Santa Fe, the United States in 2010. As the largest and highest-level conference in the ceramics industry, it is a meeting with high academic requirements sponsored by the American Ceramics Education Annual Conference. I carefully observed and found that I was the only black-haired, yellow-skinned Asian in the venue, which might be due to the language as the United States was the host and the language of the conference was English. Despite that Jingdezhen Ceramic University and the ceramic producing areas in China also hold ceramics-related seminars, there may be still a gap in academic level, which means there is still a room for the development of theoretical criticism of ceramics in China.
 
中国陶瓷艺术有两个标准,一个是市场标准,一个是学术标准。现在一部分人可能比较功利。我们谈到的往往只是市场指标,比如这位艺术家有多大名气,他的作品卖得有多高,实际上跟学术没有关系。我认为中国陶瓷艺术要有学术高度需要高标准的博物馆。首先,由博物馆来坚持陶瓷艺术的学术高度。美国就有很多收藏着好作品的博物馆,你可以在这些博物馆里看到什么样的作品才有资格进入艺术史。其次,陶瓷艺术的学术能够进课堂,有高水平的教科书,这是国内目前还比较欠缺的地方。我们可能还需要时间。假如说国内有很多是专业的这个陶瓷博物馆,在秉承一定学术理念高度的基础上收藏一批作品,经常举办有质量的展览,学校又培养一批真正的批评家,能够在一定学术高度上写出批评文章,对促进中国的这个新常态陶艺的发展会有很大帮助。
 
There are two standards for Chinese ceramic art: market standards and academic standards. Nowadays, some people tend to be more utilitarian, who focus only on market indicators such as the great fame of an artist and the huge selling price of his works, which have nothing to do with academia. I believe that museums with high standards are the basis for achieving a high academic level of Chinese ceramic art. First of all, museums should embody the academic perseverance of ceramic art. In the United States, there are plenty of museums with excellent works, where you can find out what kind of works are eligible for inclusion in the history of art. Secondly, high-level of academic ceramic art textbooks are currently lacking in China, which may require more time of us. Suppose we set up a large number of professional ceramics museums in China which collect a variety of works on the basis of adhering to certain academic concepts and regularly hold high-quality exhibitions, and a group of genuine critics are trained by the schools to write critical articles with a certain academic level, the development of China's new normal ceramics will be greatly promoted。
 
国际陶艺学会IAC能为艺术家提供怎样的平台?艺术家需要到达怎样的资质才有机会入选会员?
 
What platform can IAC provide for artists? What qualifications should artists possess in order to be selected and become members?
 
我在百度百科里专门设立了IAC的相关词条,另外,IAC的官方网站也能看到更加详尽的资料。我现在简单介绍一下IAC的情况。IAC的中文全称是国际陶艺学会,1952年成立于日内瓦,我们的总部在阿里亚娜博物馆。目前会员来自70个国家,大概将近700位会员,包括团体会员与个人会员,是代表世界陶艺界最高水平的精英队伍。IAC相当于一个网络,一个平台,为陶艺家的国际交流创造条件。欢迎大家能够多关注我们,申请成为我的会员。我们的评审非常严格,为的是确保最优秀的陶艺家加入这个队伍。我们把IAC称为国际陶艺的大家庭,成为我们的会员会有很多机会参加国际交流。
 
In addition to the IAC entries I created in Baidu Encyclopedia, more detailed information can be seen from the official IAC website. I am now giving a brief introduction to the IAC. With the Chinese full name of International Academy of Ceramics and established in Geneva in 1952, the IAC is headquartered in the Ariana Museum. Including groups and individuals, it currently has nearly 700 members from 70 countries, representing the world's highest level of ceramics elite team. IAC can be regarded as a network and platform to create conditions for the international exchange of ceramists. Everyone is welcome to pay more attention to it and apply for membership. Strict review requirements are intended to ensure that the best ceramic artists are included in the team. Referred to as the big family of international ceramics, being the member of IAC will be provided with a variety of opportunities to participate in international communication.
 
假如要申请我们的会员有几个条件。首先,需要有三位会员的推荐函,其次,作品要符合相当的标准,由15位评委去评审作品。再次,要有国际化意识,即参加过一些国际的交流活动,或者有意愿参加国际交流活动,而不是徒有名号。打个比方,有些艺术家可能是产区的国家级大师,作品卖得很高,知名度也很高,但从没有参加过国际活动,那这位艺术家的发展思路跟IAC没什么关系。所以国际化,专业化是我们的重要考量标准。申请会员可以是艺术家,策展人,评论家。
 
IAC membership applications include several conditions. First of all, three members' letters of recommendation are required. Secondly, the works has to meet certain standards and pass the evaluation of 15 judges. Thirdly, the internationalization consciousness is required, that is, to have participated in or willingly to participate in certain international communication activities rather than enjoying an undeserved fame. For example, although some artists may be state-level masters of a certain production area with high sales and favorable reputation, the artist's development ideas will be regarded as being irrelevant with IAC in the case that he has never participated in any international activities. Therefore, internationalization and specialization are vital considerations. Artists, curators and critics are eligible to submit membership applications. 

您的陶瓷艺术和工艺专著书籍已出版了5本,除此之外,几乎每年都发表论文,您何以常年保持高效率的艺术评论写作?
 
In addition to the publication of five books on ceramic arts and crafts, you publish papers almost every year. How have you kept efficient writing of art reviews all the year round?
 
首先,我是一个艺术家,艺术家当然应该做作品,因为忙于很多事情,实际上我的创作很少。另一方面,我也是个工作狂,喜欢写文章。我电脑里还有很多至今未发表的文章。我觉得假如能够多写文章,出版书籍,可能对陶艺界或者年轻人的帮助更大一些。
 
First of all, I am an artist and it is my obligation to carry out works creation. As I have been engaged in plenty of staff, my creation is actually far from sufficient. On the other hand, I am also a workaholic and quite fond of writing articles. There are still a number of unpublished articles on my computer. I believe that writing more articles and publishing more books might be more conductive to both the ceramics industry and young people.
 
您觉得您是陶艺家还是评论家?冲突吗?
 
Do you think you are a ceramic artist or a critic? Do they conflict?
 
 
实际上没什么冲突。要在陶瓷领域作为一个评论家的话,必须要自己会动手做陶瓷,要了解了解它的工艺材料特性。毕竟陶瓷艺术跟其他不一样,它是一个工艺,科技与艺术文化的交叉学科。只是单纯从美术理论去评论的话,总归隔靴搔痒,不得要领。
 
In fact, they do not conflict with each other. Only understanding its technology, materials and characteristics through creating ceramics in person can we become a critic in the field of ceramics. After all, unlike other arts, ceramic art is an interdisciplinary subject of crafts, technology and art culture. Therefore, it is inevitably ineffective and fail to get the point if the comments are made merely from the perspective of art theory.
 
您近年有一组系列作品是《全球化的困惑》,请问是全球化的哪些方面让您感到困惑,以至于创作出这组作品?
You have created a series of works entitled The Confusion of Globalization in recent years. What aspects of globalization have caused your confusion and created the works?
 
这是一个系列的作品,个性化,全球化,实际上总是一对矛盾体,我们一方面想保留自己的本土文化。但是全球化的情况下,大家都看看电视说普通话,学校里面也多教普通话,也许上海方言在几十年以后就消失了,本土的东西就慢慢会会被同化掉。现在通讯发达,交通发达,大家甚至用共同的语言去交流,无形中在相互影响中相互同化。最典型的是中国很多城市的机场完全是国际化的设计,根本看不到多少有民族特色的设计理念。我们各行各业的人在各自的领域里怎么去平衡本土化与全球化的关系,总会遇到很多困惑。在世界快速发展的情况下,可惜我们的个性面貌却不见了。
 
This is a series of works. Personal identity and globalization are actually always contradictory. For all that we want to preserve our local culture on the one hand, in the context of globalization, the public watch Mandarin-speaking TV programs and most schools teach in Mandarin. Perhaps the Shanghai dialect will disappear in a few decades, while the local items will also gradually be assimilated. Today's developed communications and transportation as well as the common language we use to communicate with each other have virtually achieved the mutual assimilation through mutual influence. The most typical manifestation of this is that airports in a number of cities in China have completely adopted international design, while the design concept with national characteristics can hardly be found out. In their respective fields, people will always encounter plenty of confusion when balancing the relationship between localization and globalization. Despite the rapid development of the world, our personality has unfortunately been lost.
 
我提出了一个问题,社会高度发展是好事还是坏事?传统建筑变成水泥森林,我们会不会怀念过去?甚至觉得茅草屋都是值得珍惜留恋?这是一个很复杂的问题。
 
Now I would like to raise a question: Is it good or bad for a society to be fully developed? Will we miss the past when traditional buildings become cement forests, and even cherish and recall thatched huts? This is a quite complicated question. 
 
 
从九十年代的大手大脚到2018年代的不明漂浮物,您的作品是否有往装置艺术发展的倾向?
 
From the Giant Hands and Feet in the 1990s to The Unknown Floating Objects in 2018, does your work show a tendency towards the development of installation art?
 
从我个人来讲,我没有想得太多,我做作的作品不多,有些作品从来没有拿出来参加艺术展。
 
Personally, I haven't given much thought to it. I don't create a great number of works and some of them have never been taken out to participate in art exhibitions.
 
如果我们要讨论现当代陶艺发展的话,首先我们先要搞清楚当代陶艺,现代陶艺的区别。现代陶艺是从美国和欧洲开始的,最早的所谓陶艺是把陶瓷艺术从工艺美术的范畴推到艺术范围,它实际上跟着现代艺术发展而发展的,比如超现实主义,极少主义都对现代陶艺有所影响。现代艺术的流派如同一顶顶帽子。现在的美术史进程发展到了当代艺术,那么当前时期我们的陶瓷艺术创作也称为当代陶艺。当现代陶艺走向了当代陶艺,我们可以把它理解成一把大伞,大伞底下有很多不同的艺术现象,它不局限于某一种风格。比如说这个是一个放在地上的一个雕塑,慢慢放多了后就变成了空间艺术,装置艺术,或者表演艺术,它成于体量,成于氛围,让艺术家和观众在更大的范围里去感受艺术。这不是我个人的作品特征,是一个时代的趋势。一件小的作品已经没有办法去震撼人家,艺术家自觉意识到要有视觉的震撼力。
 
To discuss the development of modern and contemporary ceramics, we should first clarify the differences between contemporary ceramics and modern ceramics. Modern ceramics originated in the United States and Europe. The earliest so-called ceramic art was to extend ceramic art from the category of crafts to the category of art, which actually developed with the development of modern art. For example, both surrealism and minimalism exert an impact on modern ceramics to some extent. The genre of modern art is like many hats. As the current art history has developed to the stage of contemporary art, the ceramic art creation of the current period is also called contemporary ceramics. When modern ceramics enters the stage of contemporary ceramics, it can be understood as a large umbrella which covers a variety of different artistic phenomena and is not limited to a certain style. For example, it is originally a sculpture placed on the ground, and then gradually became a space art, installation art or performing art as the number increases. Formed in volume and atmosphere, it allows artists and audiences to develop artistic perception in a wider range. Instead of being a feature of my personal works, it's a trend of the times. As a small work has failed to shake the hearts of people, the artists have consciously produced a sense of visual shock.
 
假如说我有时间,精力和财力,并且地方去展出的话,当然也希望做有视觉震撼力的作品。我知道韩国这边的老师也在做体量很大的作品。假如倒退到20年前,甚至30年前,很难得看到大体量的作品,这跟技术进步有关,艺术家能更好地把握材料,甚至改进材料。我认为当代陶瓷的艺术走势很精彩。
 
Suppose there is sufficient time, energy, funds and place for exhibition, it is of course also my desire to create visually impressive works. I heard that Korean teachers are also engaging in the creation of voluminous works. Works with great volume were scarce when going backwards to 20 or even 30 years ago, which was related to technological progress. As modern and contemporary artists can better grasp and improve the materials, I believe the art trend of contemporary ceramics will be brilliant. 
 
您曾在文章中提到阿丹姆•威尔奇所说过一句话:“21世纪将是陶瓷艺术的世纪”,您怎么理解这句话?
 
In your article, you mentioned the words of Adam Welch: "The 21st century will be the century of ceramic art". What is your understanding of his words?
 
我们的民族艺术中有绘画,书法,韩国,日本与我们有共同的审美背景,都用毛笔作画,写书法,如果走出东亚国家,把中国的书画艺术拿去给欧洲人、美国人看,他们不一定看得懂,对不对?而陶瓷语言是全世界共享的语言。中国是陶瓷王国,中国有唐三彩,宋代五大名窑,景德镇瓷器,还有龙泉青瓷等等。可能除了一些极少数的北极,南极或者某些最原始的民族,全世界各地方都有陶瓷艺术。当我们去仔细研究世界上各个国家的陶瓷文化,你会发现文化没有先进,落后之分,原始艺术也是非常有力量的艺术。比方说我去拉丁美洲考察玛雅文化,它的陶瓷艺术很棒,还有南美洲的安第斯文化,它的陶瓷艺术也很棒。尽管安第斯文化的主要陶瓷创作是陶器而不是瓷器,但是它在形象造型与刻画以及形制创造力上都给人很大强烈的视觉冲击力;再比如,德国的瓷器制作也非常发达,工艺材料不比景德镇差;还有西班牙的陶艺,以前,随着西班牙殖民者还将西班牙的陶艺影响到了墨西哥等殖民地区;还有伊斯兰文化的陶瓷细密画,都是人类共同的文化遗产。

In our national art, there are paintings and calligraphy. Due to the common aesthetic background, brushes are used in both Korea and Japan to paint and write calligraphy. Nevertheless, when going out of East Asian countries and presenting Chinese painting and calligraphy to Europeans and Americans, they will not necessarily be understood, right? However, the language of ceramic is a language shared by the whole world. As the kingdom of ceramics, there are tri-color glazed ceramics in Tang Dynasty, five famous kilns in Song Dynasty, Jingdezhen ceramics, Longquan celadon and so forth. In addition to the Arctic, Antarctica or some of the most primitive peoples, there may be ceramic art all over the world. When carrying out study on the ceramic culture of all countries in the world, it will be found out that there is no advanced or backward culture, while even the primitive art is full of strength. For example, I once went to Latin America to study Mayan culture, which had great ceramic art. For all that the major ceramic creation of Andes Culture is earthenware rather than porcelain, it brings strong visual impact in image-building, depicting and shape-making creativity; Another example is the highly developed ceramic production in Germany with craft materials no inferior than that of Jingdezhen; In addition, there are Spanish ceramics, which also affected Mexico and other colonial areas in Spain in the past under the influence of the colonists; Together with the fine ceramic paintings of Islamic culture, these are all the common cultural heritage of mankind.
 
陶瓷文化就像一个百花园,中国当然占了非常大的一部分,但是我们也要看到其他国家也有也有非常丰富的陶瓷文化,我现在正在写一本书关于世界各国陶瓷艺术的书籍,走访了各大洲的多个国家,希望把我的见闻和思考分享给读者。
 
The culture of ceramic is like a garden of flowers, in which China certainly accounts for a large proportion. Whereas, we have to recognize that other countries also possess considerably rich ceramic culture. I am now writing a book on ceramic art in various countries of the world and have visited a number of countries on a variety of continents, with the view of sharing my experiences and thoughts with readers. 
 
您在一篇教学文章中写道,让学生说出“心中的秘密”,而不是上下五千年的高谈阔论,没有高深莫测的人生哲理,而是平淡的生活经历和个人感受,在您的观念里,表现哲理和表现个人感受是不是对立的创作观念?
 
In a teaching article, you wrote that students should be allowed to tell "secrets in their hearts" instead of the harangue of five thousand years. Eliminate the unpredictable philosophy of life and focus on plain life experiences and personal feelings. Do you think that the expression of philosophy and personal feelings should be regarded as opposing creative ideas? 

 
不能说是对立的,我说这番话是针对某个具体时代的具体现象。当我们回到过去把90年代中国陶艺展览图册拿出来翻一遍的话,你能看到作品里都是上下五千年,很少有讲自己故事的作品。当然,这不涉及到好与坏。然而当大家千篇一律地表达宏大叙事,难免显得假大空。你看不出作者出生在哪里,经历了什么,有什么想法。一个真正的艺术家能够用最合适的方法表现自己,发掘自己的个性,赋予作品深度,把自己的本土文化,教育背景,生活环境,思辨能力反映到作品里。
 
They can't be said to be antagonistic. My remarks are directed at the specific phenomena of a specific era. When looking back on the past and reviewing the atlas of the Chinese Ceramic Art Exhibition in the 1990s, you will find that these works are all about China's five thousand years of history, while the works about people's own stories are rare. Despite that this is certainly not the criterion for judging good and bad, it will inevitably appear impractical when everyone narrates grandly, while the author's birthplace, experience and ideas fail to be seen. A genuine artist can conduct self-expression and personality excavation with the most appropriate methods, as well as achieve the manifestation of his native culture, educational background, living environment and speculative ability in his works through giving his works depth.
 
发觉自己的个性非常重要,既不重复人家,也不重复自己。十年前的衣服你不会重复穿,对不对?艺术家随着年龄和经历的不同也在成长,心理和生理状态会有所变化。这些自然会反映到作品里,说出了艺术家“心中的秘密”。
 
Personality excavation is extremely crucial. Neither should they repeat us nor others. You would not like to wear clothes ten years ago, right? With the increase of age and experience, artists are also undergoing growing up, which brings about changes in both their psychological and physiological state, thus naturally being embodied in their works and telling the artists' "secrets in the heart". 
 
您曾说陶艺的教学目标应该考虑陶瓷艺术专业毕业生如何与社会发展接轨,您认为毕业生可以通过哪些方式与社会接轨?其它国家的毕业生有哪些接轨方式可以给中国毕业生借鉴?
 
You mentioned that the teaching goal of ceramics should take into account how the graduates of ceramics art major integrate with social development. What approaches do you think graduates can adopt to achieve the integration with society? What approaches of graduates from other countries can be referred to by Chinese graduates? 
 
我们学美术学生都面临毕业就是失业的问题,这个问题并非只存在于艺术行业,而且很多国家都存在这个问题。艺术家的作品可能不太容易一下子卖掉,生活可能陷入困境。英语里有一个词说这样的艺术家是Starving Artist,意思是饥饿的艺术家。甚至有父母一听孩子想学艺术多多,会很紧张。有一个常见的现象,我们的学生在毕业展撤展后,作品从展厅里搬出来暂时卖不掉,又不知道该放哪里去,特别是陶瓷雕塑,搬起来也困难,找地方存放也困难。
 
Art majors are faced with the problem that graduation means unemployment, which exists in many countries besides the art industry. Artists' works may not be easily sold, which leads to difficulties in their lives. In English, there is a word that makes such an artist a Starving Artist, which means artists in hungry. Some parents even become anxious upon hearing that their children want to learn art. A common phenomenon is that after the graduation exhibition, the students' works moved out of the exhibition hall can neither be sold nor stored appropriately, especially the ceramic sculptures which are difficult to carry and store.
 
2017年我在四川美术学院给学生做过两次讲座,提出了一个构想,学生创作应该跟校园建设结合起来,哪怕在校园里面找几块墙给你们去画,让你们尽情发挥。我们的校园为什么一定要花很多钱去名家来做陶艺?四川美院有这个条件,校园很大,同学们自己去拍些照片,找找灵感,然后设计出雕塑作品,可以放校园的公共空间里展示,目的是让学生的作品和校园的周围的气氛要结合起来。学生的毕业展不在博物馆,不在室内,而是在整个校园,要放在外面去展示。从中还能培养学生的团队精神,因为大型雕塑不是一个人的作品,需要团队通力合作。有的同学善于动手,有的同学善于和甲方沟通,有的同学善于做电脑设计,然后大家可以发挥个人优势,自由组合成为一个小组,实施设计。作品可以留在校园里展出一年到三年,甚至五年,经不起时间考验的作品可以被下一届毕业生的作品替换。也许这样能给艺术学院带来活力。但首先学校需要有个比较公平的评审机制。通过评选的同学毕业后也可以在简历里写有过公共艺术的创作经历,一举两得。甚至学生在创作的时候可以用到陶瓷以外的材料,比如水泥,钢筋,木头等等,做综合材料创作。另外,还可以用工业废料做安全处理后的再利用再创作,既环保又发挥了同学们的创造力。再次,还可以做有公共服务意识的创作和有实用价值的巧妙设计,比如国内很多大的公共空间可能就放几个长椅给行人休息,缺少设计感,做不太一样的凳子,既有实用价值,又能装饰公共空间。这也许是一个值得研究的课题。以此延伸到学校的路标,路灯等公共环境设施都可以给学生研究。我会给同学们看我在世界各地拍的照片,说公共艺术的主题不一定要高大上,艺术可以融入生活的点点滴滴,作出一个好用又好看的路标,就可以一直保留下去。这个是我的一个理念,希望能够在全中国推广。
 
I offered two lectures to students in Sichuan Academy of Fine Arts in 2007 and put forward a concept that students' creation should be combined with campus construction. Designate even a few walls on campus for students to paint to their heart's content. Why does the campus have to spend plentiful money to invite masters to create ceramics? The advantages of Sichuan Academy of Fine Arts lie in the vast campus, where students can take photos, find inspiration, design sculptures and display them in the public space of the campus, thus realizing the combination of students' works and campus atmosphere. Not in museums or indoors, students' graduation exhibitions should be set up on campus and displayed outside, which is also conducive to the cultivation of students' team spirit in that large-scale sculptures require teamwork instead of being completed by one's own efforts. Some students have strong hands-on ability, some are good at communicating with Party A, and some are proficient in computer design. Students form groups freely and implement the design by giving full play to their personal advantages. Their works can be displayed on campus for one, three or even five years, and those that fail to stand the test of time can be replaced by the works of graduate of the next years, which may bring vitality to the Academy of Arts. However, this requires the university to firstly develop a fairer evaluation mechanism, while the students passing through the evaluation can also mention their experience of participating in public art creation in their resumes after graduation, which can be said to kill two birds with one stone. In addition, students can even be allowed to use materials other than ceramics, such as cement, steel, wood, etc. to conduct composite creation, while the industrial waste after safe treatment can also be applied for re-utilize and recreation, which is not only environmentally friendly but also conducive to the development of students' creativity. Thirdly, it is suggested to carry out the creation of public service consciousness and the ingenious design with practical value. For example, many large public spaces in China may only place a few benches lacking design sense for pedestrians to rest at present. Whereas, making unique benches will not only embody practical value but also decorate public space, which could be a topic worthy of study and can also be extended to public environmental facilities such as road signs and street lights in campus for students’ study. I will show my students the photos taken around the world and tell them that the theme of public art does not necessarily have to be high-end,magnificent and classy, and that the details of life can be incorporated into art. A road sign that combines practicality and aesthetics will always be retained. I hope to achieve the promotion of this concept throughout the country.
 
学校是学生的精神家园,把学校的一部分公共空间交给学生,给学生一个机会,让他们直接参与到公共项目中,参与到校园的建设中,将是一个很有意义的实践经历。
 
As the spiritual home of students, it will be a meaningful practical experience to endow students with the opportunity to participate directly in public projects and campus construction by provide them with part of the public space of the campus. 
 
您的下一步创作或者项目是什么?能否分享给读者?
What is your subsequent creation or project? Would you like to share it with readers?
 
2018年9月底10月初的时候,我们国际陶艺学会在台湾的莺歌陶瓷博物馆举办活动,我有一件作品参加展览,我做的是二维跟三维结合的山水画,前面有平面山水,后面是立体山水。这件作品放在一个木箱里面,倒挂在这个箱子的顶部,观众不一定能看得出来。里面有六面镜子,前后左右各有两个小孔,里面有装小灯,你要看这个作品的话就像看西洋镜,把眼睛贴上去,然后你会看到就很多闪光跟影像,分不清哪个是真实的,哪个是虚幻的。我们现在所处的世界也分不清什么是现实什么是幻觉,互联网是一个虚拟的世界,但虚拟世界又越来越真实。我希望用作品来描绘这个时代。
 
From the end of September to the beginning of October 2018, the International Academy of Ceramics held an event at the Yingge Ceramic Museum in Taiwan, and one of my works was also included in the exhibition. It is a two-dimensional and three-dimensional combination of landscape painting, which assuming the plane landscape in front, and the three-dimensional landscape behind. The work is placed in a wooden box and upside down on the top of the box, which is not necessarily visible to the audience. There are six mirrors in the box and two small holes on the front, the back, the right and the left. In addition, small lights are installed in the box. You are advised to look at the work in the way of looking at a zoetrope, that is, to put your eyes close to the box to see numerous flashes and images, which fail to be told from being real or illusory. We are now living in a world where it is difficult to distinguish reality from illusion, while the Internet, as a virtual world, is exhibiting increasing authenticity. It is my hope is to achieve the portrayal of this era with this work.
 
另外,刚才还谈到了我正在写作的那本书籍,暂时起名称叫《世界陶瓷文化的里程碑》。我曾说过民间陶艺是全世界共有的文化现象,我想在世界范围内把各个民族的陶瓷艺术亮点找出来,分享给读者。这项工程浩大。尽管现在很多资讯都可以在网上查阅,但我并不满足于纸上谈兵,我的目标是亲自到各个国家去实地考察。这不得不谈到我们IAC的一个优势,IAC几乎在大部分国家都有会员,他们为我的写作提供了重要的参考信息。他们向我推荐他们国家的陶瓷遗址和博物馆,甚至陪我一起去参观并与当地人交流。我希望写书的时候能把对当地人的情感写出来。我已经考察了很多国家和地区,还剩下四分之一的国家希望可以在这一两年内走一遍。为了完成这部书稿,我积累了很多资料,也收藏了一些优秀的作品,书中会分享给大家。
 
In addition, we have just talked about the book I am writing, which is temporarily named The Milestones of World Ceramic Culture. In view of the fact that I have said that folk ceramics is a common cultural phenomenon in the world, my wish is to find out the highlights of ceramic art of all nationalities in the world and share them with readers, which is a huge project. In spite that most information can be accessed online at present, I am not satisfied with talking on paper and my objective is to conduct field investigation to various countries in person. At this point, one of the advantages of IAC has to be mentioned, that is, its members are almost all over most of the countries, who, apart from providing essential reference information for my writing, recommending their ceramics sites and museums to me, but also accompanying my visit and the communication with local people. I wish to write about the feelings for the locals in the book. With multiple countries and regions having been visited, I plan to visit the remaining quarter in the next one to two years. In addition to a large amount of information, I have also collected certain excellent works to complete the manuscript, which will be shared with you in the book. 

 
我们发起了陶艺家的期待 这个热门话题,希望由您来推荐一位艺术家作为我们下一位采访对象,陶瓷艺术的魅力在于我们对陶瓷烧制最终效果的期待,读者对您的推荐也十分期待!
 
 We have launched the hot topic of expectation of #The Expectation of Ceramists and are looking forward to your recommendation of an artist as one of our next interviews. The charm of ceramic art lies in our expectation of the final effect of ceramic firing, while the readers are eagerly waiting for your recommendation!

 
在国内有一个现象,在大场合发表讲话的以及参加重要展览的都是知名度很高的艺术家,或者啊各大院校的领头羊。我倒是有一个建议。景德镇目前来说是一个全世界的亮点,对不对?很多国外的朋友都会去访问。与此同时,我希望你们能够把视线转到比较偏远院校的学生,谈谈他们的作品,也许可以给他们带来一种鼓舞。我们可能把视线都集中在景德镇陶瓷大学和八大美院,他们这些院校已经有足够的宣传能力,展览非常多,非常好,学生也很优秀。但是偏远一些不是那么著名的学校,他们的学生同样很努力,需要机会。我觉得同时我们也应该多关注年轻人,给他们机会。这些学校可能交通不是很方便,毕竟不比沿海地区。但这里照样有很多优秀的学生,他们也在非常努力地创作,他们更需要被关注。我会帮你们联系他们。
 
At present, there is a phenomenon in China, that is, the artists who make speeches on large occasions and take part in key exhibitions are all renowned artists or leaders of universities. I have a suggestion for that. Since Jingdezhen is now a focus in the world and a great number of foreign friends are attracted to visit it, I hope the attention can be shifted to students from more remote colleges and universities, while the focus on their works may bring about great inspiration. We may be accustomed to paying attention to Jingdezhen Ceramic University and the eight academies of fine arts, which already possess sufficient publicity ability, numerous high-quality exhibitions and excellent students. Nevertheless, students in the more remote and unknown colleges and universities are also working hard and desperately in need of opportunities. Therefore, I think these young people should also be given more attention and opportunities. In spite of failing to compare with the coastal areas where the transportation is convenient, a number of outstanding students here are also working very hard to carry out creation, which deserves more attention. I will provide assistance in your contact with them.
 
 
CAC驻韩国记者站采访团队
 
 
韩国记者站
 
 
为了更好地传承和发扬中华陶瓷艺术在国际上的影响力,同时也为国内陶瓷艺术工作者呈现更多更时尚更前沿的国际讯息,源于共同的传播和宣扬理念,2018年年底,CAC中华陶艺特在韩国建立驻外记者站。韩国记者站是由陈恩泽偕同一批怀揣艺术梦想的在韩留学生组建而成。主要团队成员为檀国大学陶艺专业在学硕博士。CAC希望通过对国外艺术家的专访以及对各种艺术活动的报道来加强中韩的艺术交流,同时更希望能为中韩与其它国家的艺术交流搭建沟通的桥梁。
 
目前韩国记者站在进行三个系列主题的采访报道:一、韩国学院派艺术家和大韩名匠系列。二、来韩的外国艺术家系列。三、在韩各种艺术交流活动系列。本次对于Suku Park的专访,将是CAC驻韩记者站的首次发声,接下来,我们会陆续更新更多精彩内容,敬请关注!
 
如果您有相关的讯息可以提供给我们,可以给我们后台留言,也可以直接联系韩国记者站,TEL:01021828608(韩国)18679816897(中国,微信同号),Email:yukedou@qq.com

 
 

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