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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:
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?
 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.

What does it make like a home for you?
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.

What was the most different thing when you were in Europe?
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.
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?
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.
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.
How did you change?
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.
Would you mind sharing with us what’s the most recent project are you working on?
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.
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?
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.
How ACC brings inspirations to artists while they create art works here?
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?
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.
Is there any difference between the congress that you organized in 2004 and 2020?
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.
ACC has established for many years now, what’s the most difficult thing?
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.
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.
 We’ve known that IAC 2020 will be hold in ACC, would you mind sharing with readers more information about the conference?
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.
I would like to ask for Chinese readers, if they want to join the ACC, how should they apply?
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.
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?
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.
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.
What would you think about ‘Explanations Kills Art”? Would you willing to explain your art works to the audiences?
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.
The younger generation artists are trying to find their own place in art world, do you have any advice for them?
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?
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.
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.
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.
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!