国美观·展讯｜技术新感知——当代手工艺实验展（上）

主办单位：中国美术学院Host: China Academy of Art

承办单位：中国美术学院民艺博物馆Organizer: Crafts Museum of China Academy of Art

学术支持：中国美术学院中国文化设计研究所Academic support: China Research Institute for Culture and Design in China Academy of Art

展览地点：中国美术学院民艺博物馆1、2、3、5、6、7、8号厅/杭州市西湖区象山路352号Exhibit venue: Hall 1, 2, 3, 5, 6, 7 and 8 of Crafts Museum of China Academy of Art/ No. 352, Xiangshan Road, Xihu District, Hangzhou, Zhejiang Province

展览时间：2023年10月10日-2023年10月25日Duration:  October 10, 2023—October 25, 2023

学术指导：杭间、连冕Academic advisor: Hang Jian, Lian Mian

策展人：雪润枝Curator: Xue Runzhi

联合策展：王克震、金晖、胡世法

Co-curator: Wang Kezhen, Jin Hui, Hu Shifa

行政总监：金晓依Administrative director: Jin Xiaoyi

展览协调：任晓炜、李计亮、黄艳、马群、马颖、何柳映

Exhibit coordinator: Ren Xiaowei, Li Jiliang, Huang Yan, Ma Qun, Ma Ying, He Liuying
空间设计：黄晓菲、Steve Jensen（英国）

Space designer: Huang Xiaofei, Steve Jensen(United Kingdom)

视觉设计：CLDesign Studio栾嘉辉、江航、陈铮

Visual design: CLDesign StudioLuan Jiahui, Jiang Hang, Chen Zheng

展览助理：沈飞锦、章乐妮、赵天恒、尤红果、项棋棋、谢佳芮、刘语泉、凌子慧、李子琦Exhibit assistant: Shen Feijin, Zhang Leni, Zhao Tianheng, You Hongguo, Xiang Qiqi, Xie Jiarui, Liu Yuquan, Ling Zihui, Li Ziqi

展览摄影：杨涛、刘永戈

Photographer: Yang Tao, Liu Yongge
展品收藏与支持（按汉语拼音排序）：东西艺术空间、范邱漆研所、JALAB首饰实验室、农造NONGZAO、融设计图书馆、上海市公共艺术协同创新中心（PACC）、同济大学设计人工智能实验室、特赞信息科技〡Tezign.com、元白展厅、顾青、时翀、王菁菁、王思文

Collection & assisted by(Sort by Chinese Pinyin)：Nishine Studio, Fan Jianjun & Chiu Fanchih Lacquerware Studio, JALAB of College of Design and Innovation of Tongji University, NONGZAO, Róng Design Library, Shanghai Public Art Cooperation Center(PACC) , Design A.I. Lab of Tongji University, Tezign. Com, Yuanbai Exhibition Hall, Gu Qing, Shi Chong, Wang Jingjing, Wang Siwen

前   言

人类的技术思想历时悠久，在中国古代就有“技”“工”“器”“术”“法”“门”“道”“机巧”等描述技术的相关词汇。回溯中国古代工艺的发展，手工艺的历史是一部人类文明的技术进步史。中国古代典籍《考工记》《营造法式》《天工开物》等的出现，新材料的研制和开发，所有的人造物都贴上了科技与艺术的标签。在后现代技术的语境下，关于手工艺中艺术与技术关系的探讨，对手工艺的现代化发展具有特殊的意义，也为我们思考艺术和技术在当代手工艺中的角色和价值提供了思路和启示。在人工智能的背景下，新技术的应用催生了全新的生活和文化形态。技术的不断迭代对手工艺的创作和生成方式产生了巨大的影响。新的手工艺媒介和数字化技术应用，使得手工艺品的制作变得更加灵活、精确和高效，同时也为手工艺品的推广和传承提供了更广阔的空间。如何将当代科技手段融入传统手工艺中，以推动手工艺的创新发展，以及如何深化新工艺本体语言的研究等，都是我们面临的时代课题。当下，新技术在工艺领域的应用革新了设计与制作方式，新一代的工匠正通过各种新技术实验对“材美工巧”“心手相应”等传统理念作出创造性的诠释。数字化和智能制造方式深刻改变了传统工艺创作的思维逻辑和发展模式，随着计算机技术和相关智能设备的发展，手工艺创作已经不再仅仅依赖于个人的创造力和手工技艺，而是可以利用这些技术和设备来辅助构思和制作，AI的发展甚至会从根本上改变目前的“辅助”，而走向手工艺远离“人”的未知。因此，大众担忧技术介入手工艺创新，会使手工艺丧失“手的价值”和人文情感、温度，这是手工艺目前面临的挑战。基于学术研究和立场，在当下“新文科”学科建设背景下，本展览旨在探讨当代手工艺中艺术与科技的融合、新技术与新人文的链接，探索未来工艺交叉、跨学科研究的发展方向，围绕“科技与人文”“传统技艺与当代媒介”“新技术与工艺美术”“新技术实验与材料跨界”“当代形态与观念表达”等问题进行研究性展示，以此促进对话、引发思考。展览邀请了国内外陶瓷、金工、漆艺、玻璃、木作、纤维等领域采用新技术探索实验的近80位手工艺术家与设计师的作品与项目，共计四百余件作品，展示了新技术介入工艺实践中材料、形态、肌理、观念的突破，呈现了当代手工艺实验的多样感知与形式表达，展览希望关注正在生发的新工艺形态与未来趋势，为助力新时代中国现代手工艺的创新发展提供借鉴。

雪润枝
2023年10月7日

Preface

Our thought on craft and technology boasts a long history. In China, related terminologies, such as “ji技 (craft)”, “gong 工 (craftsman)”, “qi 器 (tool)”, “shu 术 (art)”, “fa 法 (methodology)”, “men 门 (knack)”, “tao 道 (way)”, “jiqiao 机巧 (trick and technique)”, etc., have abounded since the ancient times. The development of Chinese ancient craft proves that the history of craft reflects the progress of human technological civilization. Both technology and art etched their marks on all human creations, from Kaogong ji 考工记 (The artificers' record), Yingzao fashi 营造法式 (A Chinese treatise on architecture), Tiangong kaiwu 天工开物 (Exploitation of the works of nature) and many other Chinese classics, to the materials freshly designed, innovated, and developed. In today’s post-modern technological context, it is of special significance for the modernization of contemporary craft to study the relationships between art and technology embraced in it, which also provides food for thought in exploring their roles and values.

In the age of artificial intelligence, new technologies have given rise to new lifestyles and culture forms. The constantly upgraded technologies have left profound impacts on the ways in which craftworks are designed and produced. New craft media and digital technology enable their production to be more flexible, precise, and efficient, creating ample space for us to carry them forward and spread them. How to integrate advanced technology into traditional craft? How to combine art with technology so as to promote craft innovation? How to further probe into the ontology language of new techniques? All these are the questions of our times. Nowadays, as new technologies reformed craft design and production, the current craftsmen are creatively interpreting classical concepts like “fine materials and smart techniques” and“heart and hand in mutual response” through numerous experiments with the new technologies. The digitalization and intelligent manufacturing methods have profoundly changed the mindset and development patterns of traditional craft creation. With the advancement of computer technology and related intelligent devices, manual craft creation no longer solely relies on individual creativity and craftsmanship but can utilize these technologies and devices to assist in conceptualization and production. The development of AI may even fundamentally change the current notion of “assistance” in craft creation and move towards an unknown realm where craftsmanship diverges from “human” involvement. Therefore, there is a concern among the public that technological intervention in craft innovation may lead to the loss of the “value of hand” and humanistic emotions and warmth in craftsmanship. This is the challenge currently faced by manual craft.

Underpinned by the academy’s research and stance and the context of “new liberal arts” construction, the exhibition aims to explore the fusion of art and technology and the combination of new technologies and new liberal arts. The exhibition highlights the intersected and interdisciplinary trend of craft studies and focuses on “technology and humanism”, “traditional craft and contemporary media”, “new technologies and arts and crafts”, “new technology experiments and boundary-spanning materials”, “contemporary forms and expression of ideas”，questions and problems the contemporary craft faces, to inspire dialogues and insights. It invites approximately eighty typical craft artists and designers from home and abroad in various fields, including ceramic, metal, lacquer, glass, wood, and fabric, with their four hundred-odd works and projects, which demonstrate the breakthroughs in materials, forms, textures, and concepts emerging in the real practice owing to the application of new technologies. It presents the diverse perceptions and forms of expression in contemporary craft experimentation. All these creations illustrate the multiple perceptions and expression methods of the contemporary craft experiments and try to outline the emergent new craft form and its future direction to providing references to support the innovation and advancement of the contemporary Chinese craft.

Xue Runzhi

October7, 2023

参展作品（部分）Exhibited works (part)

黄慧贞、唐伟焜：《DONG》，侗族亮布、土布、304不锈钢，2023Huang Huizhen, Tang Weikun: DONG, cloth/nankeen/304 stainless steel, 2023

转下集

参展艺术家名单（按姓氏拼音首字母排列）：
Artist name list (based on the initial letter of the last name, in alphabetical order)
第一版块 传统技艺与当代媒介

安田猛（日本）、陈英泽、程立斌\PACC团队、大迫友纪（日本）、Felicity Aylieff（英国）、Frieda Dorfer（德国）、范建军、高凤麟、洪张良、李恒（中国台湾）、林秀清\陈昆鲲、龙一、刘吾香、刘小聪、罗美云、闵复基（韩国）、倪献鸥、彭喆、石大宇、施君、谭颖君（中国香港）、王晓昕、闻子煦、熊开波、殷建国\谢震、周娇、章俊杰、赵子晗、张周捷

Section Ⅰ: Traditional Craft and Contemporary Media

Takeshi Yasuda(Japan), Chen Yingze, Cheng Libin\ PACC Team, Yuki Osako(Japan), Felicity Aylieff（United Kingdom）, Frieda Dorfer（Germany), Fan Jianjun, Gao Fenglin, Hong Zhangliang, Li Heng(Taiwan, China), Lin Xiuqing\ Chen Kunkun, Long Yi, Liu Wuxiang, Liu Xiaocong, Luo Meiyun, Min Bogki(Korea), Ni Xian’ou, Peng Zhe, Shi Dayu, Shi Jun, Tan Yingjun(Hong Kong, China), Wang Xiaoxin, Wen Zixu, Xiong Kaibo, Yin Jianguo\ Xie Zhen, Zhou Jiao, Zhang Junjie, Zhao Zihan, Zhang Zhoujie
第二版块 科技探索与材料跨界

蔡赟骅\王泽强\山赴、陈钦圳、丁馥霓\周悦、范凌、范炜焱、Geneva Bergelt（美国）、林一蕙、马川、RESTUDIO、童心笛\沈婷、吴永莹\侯嘉敏、王小丁、夏寸草\钟宇轩\崔柯淞\杨柳\钟佳琪\孟律、许刚\叶伟镔\张爽、许刚\谭雅图\叶伟镔\何紫欣、郁新安、张一杨、赵霏越\刘逸瑾\巩崇智\耿雨

Section Ⅱ: Science and Technology Exploration and Material Crossover

Cai Yunhua\Wang Zeqiang\Shan Fu, Chen Qinzhen, Ding Funi\Zhou Yue,Fan Ling, Fan Weiyan, Geneva Bergelt (United States), Lin Yihui, Ma Chuan, RESTUDIO, Tong Xindi\ Shen Ting, Wu Yongying\ Hou Jiamin, Wang Xiaoding, Xia Cuncao\ Zhong Yuxuan\ Cui Kesong\ Yang Liu\ Zhong Jiaqi\ Meng Lv, Xu Gang\ Ye Weibin\ Zhang Shuang, Xu Gang\ Tan Yatu\Ye Weibin\ He Zixin, Yu Xin'an, Zhang Yiyang, Zhao Feiyue\ Liu Yijin\ Gong Chongzhi\ Geng Yu
第三版块 技术感性与观念表达

毕蓉蓉、陈未与、程之璐、高尚、何大勐、黄子昕、Jiro Kamata（日本）、纪海燕、李雅娜、李玉普、彭倩、施鹏程、施琪、苏扬、苏齐、Takayoshi Terajima（日本）、Tricia Flanagan（澳大利亚）、王克震、王欣、王越、王智鹏、吴佳恒、吴仕奇、谢震、许嘉、徐鑫桦、袁婧雯、朱美霖、赵尔东、赵瑾雅、郑闻卿、周悦\冯冰心

Section Ⅲ: Perception of Technology and Concept of CraftBi Rongrong, Chen Weiyu, Cheng Zhilu, Gao Shang, He Dameng, Huang Zixin, Jiro Kamata(Japan), Ji Haiyan, Li Ya’na, Li Yupu, Peng Qian, Shi Pengcheng, Su Yang, Su Qi, Takayoshi Terajima(Japan), Tricia Flanagan(Australia), Wang Kezhen, Wang Xin, Wang Yue, Wang Zhipeng, Wu Jiaheng, Wu Shiqi, Xie Zhen, Xu Jia, Xu Xinhua, Yuan Jingwen, Zhu Meilin, Zhao Erdong, Zhao Jinya, Zheng Wenqing, Zhou Yue\ Feng Bingxin