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《不必询问Never Ask for Advice》专访韩裔陶艺家-suku park 教授

时间:2019-02-25 14:33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:Suku Park Interviewee: Suku Park
编译:余晖Translate and Edit: Sophia Yu
摄影:陈旺杰Camera: Jason Chen
摄像:李兆Photography: Michael Li

 
▲Rain Drops


 
      Professor Park, you were graduated from Seoul National University and Swedish State School of Art & Design, What made you stay in North Europe after graduation?
 
      帕克教授,您从首尔大和瑞典艺术设计学院毕业,是什么让您留在了北欧?
 
 Actually, I didn't feel like it's a foreign country. I felt like it is my home. The first reason I left Korea to Sweden was I wanted to study more about ceramic. The other reason was I didn't want to be a professor to teach, when I studied in university, everybody said it's cool to be a professor to have long lifetime insurance. I was an assistant in university after graduation and  I saw how my professor lived, I saw they didn't have time to work for themselves. they were occupied by school every day. That’s why I decided to be a free artist and just work for myself. If I lived in Korean, I might have no choice. If my professor asked me to come to teach, I couldn't deny. So, I escaped to Europe. My professor asked me how long you would stay in Europe all the time, I always said one more year, one more year. Really, I wanted to be a free artist, not a teacher. This is my main reason to stay in Sweden and Finland. I lived ten years in Sweden from 1974 to 1984, then moved to Finland 1984 and lived there until now.
 
对我来说,欧洲不像外国而像我家。我离开韩国的首要原因是想要多学一些关于陶艺的知识。另一个原因是不想当教授。当我在大学学习的时候,所有人都说当教授等于有了人生保险。大学毕业后我在学校做助教,见证了教授们的生活,看到他们没有时间创作,每天都被学校的教学事物占满,所以我决定做自由艺术家,只为自己工作。如果在韩国生活,教授要求我求教书我别无他法。所以我跑去了欧洲。教授一直问我还有多久回来,还有多久回来,我总是说明年,明年。我想做自由艺术家,而不是老师。这是我留在瑞典和芬兰的原因。我于1974年到1984年在瑞典生活了十年,然后在1984搬去了芬兰生活,直到现在。
 

 
What does it make like a home for you?
 
是什么让您觉得有家的感觉?
As immediately I came to Finland, I felt so comfortable for me, because I didn't need to think about many things. In Korea, you must think about parents, friends, all the relationships and all these things you have to behave. But in Sweden and Finland, I just think about myself, I was free. It wasn't like in Korea. I found many artists in Europe are living and working away from home country. Like French people lives in England, English artists live in Scandinavia, the characteristic of their works are formed by mixed culture, from own culture and different culture. This is what make artists more unique, I think.
 
当我一到芬兰就感到十分舒适,无丝竹之乱耳,无案牍之劳形。在韩国,必须考虑我的父母,朋友以及各种人际关系和各种需要遵守的事情。但是在瑞典和芬兰,我只需要想着我自己,我是自由的,这跟韩国情况不同。我发现来欧洲的艺术家都在离家很远的地方工作和生活,比如法国人住在英国,英国人住在斯堪的纳维亚半岛,他们都作品都有混合文化的特点,有自己文化的特色,也有他国文化的影响。我想,是文化的融合使艺术家别具风格。


What was the most different thing when you were in Europe?
 
您在欧洲最不同的感受是什么?
 
The very different thing is the nature and how they treat the nature. In Scandinavia there are not so many people, not like Asia. I like the silence, since I don't speak very much, I like to be alone.
 
欧洲(与韩国)最大的不同是自然风光,以及他们对待自然的态度。在斯堪的纳维亚半岛人口稀少,不像人口众多的亚洲国家。欧洲很寂静,很适合我,因为我不太爱说话,喜欢独处。
 
You said your language of form and expression is not Korean, but a reaction inside yourself to form things with your own hands in order to give an object its own character. Would you mind telling us how to find the reaction inside you?
 
您说过您的艺术语言不是韩国的,而是用手将自己内在的碰撞赋予具体的形式。能否告诉我们您如何找到内在的碰撞?
 
I don't think much about Korean actually, I'm a Korean but during time I lived there, I never connected anything with Korea to my work. I don't have any special reason. But on the other hand, I never tried to get anything from Sweden or Finland, I just think myself. Because every day I'm changing due to the people I met. When I do my work, I just  start without  thinking,without  plan,  just  do  it.  Then  slowly, something comes out from my body continually, and suddenly something comes to me, it feels like it comes from my own body. Each time I go holiday or break for one month or do some traveling and then back to my studio, the same thing always happened, I felt struggling sometime, but I don't do anything, and then I learned to let it be.
 
我其实不太思考韩国文化,尽管我是韩国人。但住在欧洲的时候,我从不把作品强行与韩国文化做结合,也没有什么特别的原因。从另一方面讲,我也不打算从瑞典或芬兰获取什么艺术形式,我只做自己的东西。因为我每天都在变化,可能是因为每天遇见的人。当我开始工作,从万念俱空开始,没有计划,只是去做。然后慢慢的就会有灵感来找我,就像从我自己身体里生发出来的感觉。每当我去度假或者做一个月一次的旅行后回到工作室,总会有同样的事情发生,我感受到内在的矛盾和抗争,我会什么都不做,让碰撞驻在心里,我与它和平共处。
 
During my study time in Sweden, I had trained to stop think through my brain, no thinking. When I had many things in my mind, I tried to stop but I started to think again after five seconds. Now I guess I can control if I decide to stop thinking anything, my brain will be like empty. That is my way to have rest without sleeping, I can be fresh.
 
在瑞典学习期间,我训练自己停止用大脑思考,不要去想。当我脑中事务繁多时我就强制停止大脑运行,但5秒中之后就失效了。现在我觉得我能控制自己的心智不被打扰,清空大脑,这是我不需要用睡眠而获得休息的方式。
 
How did you change?
 
您是如何改变的?
 
I think I'm changing every day, I try not to think about future, nothing important about what past was, I just live in today. I'm different from this moment to the previous moment. I don't plan anything for future. That's the way I'm living.
 
我每天都在改变,不去思考未来,过去是什么样的也不重要,我只活在今天。我的下一秒与上一秒也不同,不为未来做计划就是我的生活方式。
 
Would you mind sharing with us what’s the most recent project are you working on?
 
能否与我们分享您最近在做的作品?
 
There are two things I can share, one is about my work, the other one is beside my work. My work is changing nowadays, I become lazy because I'm getting old, my recent work is done by cotton bolls or sometimes with paper and put them into slip, I don't need to use plaster mold. I did experiments to form to use them. It started to use paper then cotton and sponge, I try to find different materials, sometimes I even use cookies and put it into slip, That's my recent experiment. Beside it, I develop a ceramic center in Finland and I did this work about ten years already. Recent years, I organized Symposium for artists from all over the world, each time about 15 to 20 people, most of them are ceramic artists. But I also invited one or two different artists, like photographers and writers, they joined together to affect each other. I also asked senior artists to bring young people, it’ll be good that senior artists and young artists meet together. Especially I'm interesting to develop Asian ceramic artists for Contemporary ceramic. Chinese, Taiwanese, Japanese, Korean, I always mix them together, make friends without border.
 
有两个项目可以与大家分享。第一个是我的创作,另一个是创作之外的事务。我的作品现在已有很多变化,大概是人老了,也懒了下来。我最近的作品是用陶瓷棉花球以及纸张做的,把它们放进泥浆里,这样就不需要用模具了。我也在尝试做它们的造型实验。从纸张开始,然后是棉花球,接着是海绵,尝试了不少材料,甚至还用到了饼干,比如把饼干蘸上泥浆。这是我最近的实验。另一个事务是我在芬兰经营了十年的陶瓷艺术中心。近几年,我组织了学术论坛,邀请到来自世界各地的艺术家,每年15到20人不等,大多数是陶艺家,但是其中也有一两位是摄影艺术家,作家等其它领域的艺术家,我把大家聚到一起,相互影响,相互激发。我也邀请资深艺术家介绍年轻艺术家过来,新老相聚。我对亚洲的当代陶艺家特别感兴趣,无论是中国大陆,台湾,日本,韩国,我总会把他们聚到一起,友谊无国界。
 
I've already held the symposium ten times in Finland. Actually, we are the main stream ceramists, maybe European or American ceramic artists will lead contemporary ceramic art one hundred year later. But now, I think we should take it back to Asian. I think we should create more opportunity for young artists and introduce them worldwide. There are so many talented people out there. I want to pay back to young people. This is one way how I pay back what I got from Europe. Each time I sit with young artists is funny and good feeling.
 
我们在芬兰的研讨会已经举办十年了。说实话,我们是主流陶艺家,也许一百年以后,欧洲或者美国陶艺家会引领当代陶艺的发展,但是目前,我们要让亚洲获得主导权。我觉得我们应该给年轻艺术家创造更多机会,并把他们推向全世界。有天赋的人有很多,我想为年轻人做点事。这是我汲取欧洲,回馈世界的方式。每当我和年轻人坐在一起都感觉非常  好。

 
You’ve benign running Arctic Ceramic Centre in Posio, would you introduce Chinese readers about ACC?
 
您一直在管理北欧陶瓷艺术中心,能否向中国读者介绍ACC?
 
I invited Chinese artists very recently year, like two years ago. I have been in China many times, but most of the senior leaders seldom speak English. Communication is very important,to be there without English, we can't communicate. Also, one other reason is that many Chinese artistic professors are so busy.  Two years ago,  when I was in Hangzhou, I met some young people there. I started to invite young people because they could speak English. And this year we also had artists from China. Now it's much easier to find and invite Chinese artists. Of course, the Posio city government as well as private companies helped us to organize and most importantly funding for us. Many local people volunteer to help us for symposium. Without help, I don't have possibility. The main goal from my sight is to bring more young artists especially international artists to meet together and work together.
 
我们中心已在近两年邀请了中国艺术家。我去过很多次中国,发现我们这一年龄段的资深艺术家很少讲英文,而我组织的是国际学术论坛,所以英语交流很重要。如果来了,不讲英语,大家难以交流。另一个原因是,中国艺术学院的教授可能都比较忙。两年前我去到杭州,遇见了一些年轻艺术家,我开始邀请他们因为他们能说英语,今年我们也邀请到了中国艺术家。如今,寻找并邀请中国艺术家变得方便多了。当然,Posio市政府和当地私人企业也帮助我们组织策划,最重要的是提供资金来源。而且当地居民也作为研讨会的志愿者参与进来。没有他们的帮助,我不能做成这件事。我们的主要目的是带来更多的来自世界各地的年轻艺术家,大家相聚在一起,一起做创作。
 
How ACC brings inspirations to artists while they create art works here?
 
您认为ACC能给驻场艺术家带来怎样的启发?
 
Our Ceramic Center is a ski sport place with a hotel and a restaurant. ACC established at this place as a ceramic center. It's a very beautiful place with lakes. Especially for the reason to see the northern lights and Santa Claus, many tourists from China come to in winter season. When artists come, they will find it's a very quiet and isolate place from outside world. So, people can be concentrated himself with nature. During Symposium, artists stay and live together, eat together, work together. This is a special opportunity to be isolated, only think about themselves. Not like China, Korea, where are so many people surrounding.
 
我们在欧洲的陶艺中心以前是滑雪场,有酒店和餐厅。我们把这个地方改建成了陶艺中心。这是个非常美丽的地方,环境相对封闭,有湖泊可以观赏, 特别是这里的北极光吸引了很多来自中国喜欢冬雪和圣诞老人的游客,很多中国游客都会在冬季过来旅行。当艺术家到来,他们会发现这里是一个非常安静并且相对与外界隔离的地方。所以,大家可以专注于自身和大自然的呼应。在研讨会期间,所有艺术家一起生活,一起用餐,一起工作。这里不像中国或者韩国有那么多人口,是远离喧嚣的绝佳机会。
 
 
What’s the next program or exhibitions on ACC?
 
ACC下一步的项目或展览是什么?
 
The next program is symposium. International Academy of Ceramics (IAC) congress has hold in Taiwan, Taipei this year. In 2020, ACC organize IAC congress in Finland. We have one year and half to prepare. We will have a quite busy time to that. We planned it two years before already and less than two years left until that. Everything is almost settled now. but we still have some programs and details to working on. I've already organized IAC congress in Korea, 2004. It was fourteen years ago and a great experience to organize.
 
下一个项目是“粘土学术论坛”。今年,世界陶艺学会大会在台湾的台北召开,2020年的大会将在我的组织下走芬兰召开。我们提前两年开始准备工作,还有一年半的时间去完成最后的工作,时间很紧,现在一切都几乎安排妥当,但尚有一些细节需要处理。我曾策划了2004年在韩国举办的世界陶艺学会大会,那是14年前,是个锻炼策划能力的绝佳体验。
 
Is there any difference between the congress that you organized in 2004 and 2020?
 
您所策划的2004年世界陶艺学会大会与2020年的大会有什么不同?
 
The time is different and it's getting more and more interesting every year. I think the better one was the one hold in Korea, because at that time, I got funding in Gyeonggi-do province, we had enough money so that we had no problem to make program. But in Finland, I have no enough funding, we are still working for more funding. And in Korea, we had many people to help and work for. But in Finland, population is decreasing every year and the salary is high, that's the big difference.
 
时间在变,大会每年都更有意思。我觉得在韩国举办的大会比较成功,因为那时我得到了京畿道省的鼎力资助,有充分的资金来完成项目。但是在芬兰,由于资金不足,我们还在为拿到更多资助而努力。另外,在韩国,我们有很多志愿者参与帮助工作,但在在芬兰, 人口锐减,人工工资又高,这是两届会议最大的不同。
 
We had IAC congress in Xian, China, in 2008. I couldn't be there. I think it's good to both sides, we introduce different cultures to artists. You can get affected from China and also from other cultures. I think we should mix culture in different way and developed culture for the future.
 
2008年我们在中国西安举办了世界陶艺大会,但我没能到场。我觉得会议举办对陶艺界和举办国都有促进作用。你能从中国文化和其它国家的文化中得到养料。我认为,我们应该用不同的方式做文化融合,为未来而发展文化。
 
ACC has established for many years now, what’s the most difficult thing?
 
ACC已经成立多年了,这些年来最困难的事情是什么?
 
One of the most difficult things was to start to establish this organization, without any support from people in our city, or our city government, it was impossible. Our city is small, just about 3000 people. But area is so big and full of forest, thousands of lakes, it's a beautiful place. Young people when they get the age of university, they move to big city to study, never come back, because there is no enough job here. Population decreases. So, I had an idea, we changed this town as an artists’ town, as ceramic was my subjection, I built ceramic art center and international artists come here, we want to bring culture tourism to our city. This is one way how art and local collaborate.
 
最困难的事情之一就是建立这家机构。如果没有来自我们市民和市政府的支持,不可能完成。我们的城市很小,只有3000多人,但是地广人稀,遍布深林,有上千个湖泊,是非常美丽的地方。这里的年轻人一到上大学的年纪就搬去大城市学习,不再回来,因为小城没有足够的工作机会。鉴于人口持续减少,我有一个想法,把小镇改建成艺术小镇,因为我的专业是陶艺,那么我们就建成陶艺小镇,让全世界的陶艺家来到这里,给城市带来文化旅游效应。这是艺术与当地文化相互合作的方式。
 
But I'm looking for the new generation to take over. I hope it will be running all the time in future. I think this organization can be an international organization and a place that young people meet together. The question is how to get funding from government. We can’t get this kind of funding from the municipal continuously in many reasons. I hope soon we found idea to survive ourselves. There are so many these kind of organization in the world, we all have the same problem. We are struggling to testing different ideas in self-running system, we are not making money, it's an NGO, funding is the biggest problem.
 
但是我在寻求年轻一辈来接手,希望在未来它能一直运营下去。我觉得这个机构可以发展成一个让年轻人相聚的国际性组织。但问题是如何从政府获得资金支持,因为这种向政府申请的资助项目有诸多原因不能得到持续稳定的赞助。希望我们能自己找到生存之道。世界上有很多和我们类似的组织都在面临同样的问题。我们一直在尝试用不同的方式来做自运营,因为是非政府组织,我们不赚钱,所以资金是最大的问题。
 
 We’ve known that IAC 2020 will be hold in ACC, would you mind sharing with readers more information about the conference?
 
IAC2020将在ACC举办,能否与读者分享更多的关于此次会议的讯息?
 
I’m expecting more Chinese members to participate at next IAC Congress in Lapland. We will choose new IAC members next year and I think many Chinese application will be coming.
 
我希望下一届在拉普兰的世界陶艺大会能邀请更多的中国会员参加,我们将在明年选择会员,届时应该会有很多来自中国的申请。
 
I would like to ask for Chinese readers, if they want to join the ACC, how should they apply?
 
我想替中国读者咨询一下,如果他们想加入世界陶艺学会,应该如何申请?
 
They can view our website, there is new member candidate rules, every candidate can apply on the Internet. Every artist needs three members' recommendations. It doesn't matter which countries your referrers come from. Because our members don't represent their countries, they are all individuals. They can be Korean members, Japanese members. But each member can only recommend maximum three persons, therefore the candidates should prepare to ask quite early.
 
他们可以浏览我们的官网,上面有申请新会员的规则,并且只能在网上申请。每位申请者需要有三位会员的推荐。推荐者无论来自哪个国家都可以,因为我们的会员不代表他们的国家,他们是独立的个人。推荐者可以来自韩国或日本。但是每位推荐者只能推荐2到3个人,申请者应尽可能早点向他们要到推荐资格。
 
We found that in IAC there are lots of senior artists, but seldom of the younger generation, if they want to join IAC, is there any advice that you can give them?
 
我们发现世界陶艺学会的成员大多是资深艺术家,少有年轻艺术家,如果年轻艺术家想加入世界陶艺学会,你有什么建议给他们吗?
 
Young artist like 30’s also can apply. Just try! When we choose members, we don't see names, just works. It's only about the quality of art works. Before I became a member, I was forty-two years old, but many of the members became a member around 50~60’s. At that time, the rules were restricted, but now it’s more open. Our 15 council members choose person by seeing 5 slides of images, then Yes or No. You must get 50% of yes among 15 council members. Above 50% of yes will be recommended as our new members, works that gets 30% - 49% we will see them once again. Among 15 council members, if somebody knows this person, anybody can't say anything, like I know this person. And then, we will vote again. In that way, we get more members nowadays. We try to get more young people, so, there is possibility. Nowadays, the quality of young artists works has developed compare to 20 years ago.
 
30多岁的艺术家也可以申请,来试试嘛!我们选择会员不会看会员的名字,只看作品,作品决定一切。我42岁成为会员,但是大多数会员都在50到60多岁成为会员。那时候的入会选拔非常严格,但现在更开放了。选拔会员时有15位评委看作品,每人5张作品照片,然后大家说yes或no。你必须得到15位评委中50%的yes,超过50%的yes就能成为我们的新会员,30% - 49%的yes的作品将会被在甄选一遍。这15位评委中如果有任何一位知道作品的作者都不能发表意见,比如说我认识这个人。然后大家会重新投票。我们用这样的方式选择新会员。我们也在尽量吸纳年轻会员,所以还是有机会的。现在,年轻艺术家的作品比以前要进步很多,如果与20年前相比的话。
 
As we know we are in 3D printing era now, what would you think about 3D printing effects on hand-making ceramic artists? Since we can never make ceramics as complex and precise as machines do.
 
我们知道,现在已经是3D打印的时代,您认为3D打印会给纯手工陶艺家带来怎样的影响?毕竟我们知道我们不可能做出机器做出的那样复杂和精确的作品。
 
This is a new area and a big discussion nowadays. You can see we have many 3D printing machines in our studio. Those machines are for my designing, it's very helpful, but it's only one kind of tool to support our work, not everything. It helps a lot for artists to realize their ideas which are impossible before. But we can’t rely on it too much, we should believe our hands more.
 
3D打印意味着新时代,这也是现在很热门的话题。你也能看到我们工作室有很多3D打印机,这些机器可以用来帮我做设计,确实很有帮助。但是3D打印机只是一种辅助工具,不是一切,它能实现艺术家以前无法实现的想法,但是我们不能完全依赖机器,我们更应该相信自己的手。
 
What would you think about ‘Explanations Kills Art”? Would you willing to explain your art works to the audiences?
 
您如何理解“解释谋杀了艺术”?您愿意为观众解释您的作品吗?
 
I don't like to explain. The way I want to tell people is through my pieces, not by words. I may say something but how to receive from works is their own point of view. I don't try to insist audience to see in my way. For example, if I make this, but somebody sees it in different way, it's completely okay, I think these pieces is left from my side. I don't want people ask me what it means. You get what you see.
 
我不喜欢解释作品。我想说的话都在作品里了,不需要靠语言。我也许会稍稍做一些解释,但是观众如何理解那是他们自己的事,不想强迫观众用我的观点看世界。比如说,我做了一件作品,观众完全可以用不同的方式来解读。这件作品已经与我无关,观众无需问我它有什么含义,你的所见即所得。
 
The younger generation artists are trying to find their own place in art world, do you have any advice for them?
 
现在,越来越多的年轻艺术家渴望在艺术界找到自己的位置,您有什么建议可以给年轻人吗?
 
I think we should not to advise to any person, I think everybody has their own right to decide for themselves, I think advice is not a good way to treat people. We are all individuals, we have our own life and own way to go. Especially, artists should not try to ask advice from other people. they just absorb from other artists, but the way is my way, you decide your way. It's all up to you. Advice is a very dangerous thing. If somebody wants to advise you, you should deny it. Don't ask advice. This is my way. My experience is I seldom to ask somebody how I should do. If it's concerning about my own career or my work, I never asking anybody. I did what I like, and I take my responsibility.
 
我觉得我们不应该给别人建议,每个人都有自己的决定权,给别人建议不是一个友善的待人之道。我们都是独立的个体,我们都有自己的人生之路要走。尤其是艺术家更不能问别人要建议,可以从其它的艺术作品里吸收养分,但还是自己走自己的路,别人走别人的路。怎么决定全取决于你自己。给建议是一个很危险的行为。如果有人要给你建议,你别 听,别去问建议。我就是这样做的,如果涉及到我的职业和工作,我很少问别人问该怎么做,我爱怎么就做怎么做,同时自己承担后果。
 
We know that you will go to China in two weeks, is there any information that you would like to share with us?
 
我们知道您将去中国旅行2周,有什么可以与大家分享的吗?
 
Two of my Chinese friends asked me to visit China, one in Hangzhou, I invited him last year to visit Posio, Finland. He is also a young artist. I want to visit Hangzhou and see around the Yixing, this is about Hangzhou trip. The other one is in Guangzhou, Professor Ayu is her nickname. She is one of the members in IAC and also a professor from Guangzhou Fine Art Academy. She is making a documentary about Chinese ceramic artists, it’s just a privet visiting for short time.
 
我的两位中国朋友邀请我去中国游玩,一位朋友在杭州,去年我邀请他去芬兰访问,他也是一位艺术家。我想去杭州,也去宜兴看看。另一位朋友在广州,她叫谭红宇,艺名阿鱼,她也是世界陶艺学会的会员,也是广州美术学院的教授。她在为中国的陶艺家做纪录片,这是一个短期的私人旅行。
 
We started “Expectations of Ceramists”on social media, we sincerely hope you recommend us an artist as our next interviewer. The charming of ceramic is our expectation before kiln door’s opening, readers are also expected your recommendation.
 
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!
 
I recommend Maria Gezler, she is around 80 years old, but she is very active, she has been China many times and also went to Yixing congress before. She is one of the leader ceramic artists in Hungary. I recommend Maria Gezler as your next guest.
 
我推荐玛丽亚·格兹拉,她虽然已有八十多岁但依旧很活跃,她曾多次造访中国并出席过在宜兴举办的世界陶艺大会。她也是匈牙利陶艺界的领军人物。我推荐玛丽亚·格兹拉作为你们下一期的采访嘉宾。
 
 
▲CAC驻韩国记者站采访团队
 
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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