第三届广东当代陶艺大展开幕式左正尧专访
The 3rd Guangdong Contemporary Ceramic Art Exhibition Opening Scene, Interview with Zuo Zhengyao 2018
At 3 pm on April 13, 2018, the "Third Guangdong Contemporary Ceramic Art Exhibition" was grandly opened at the University City Art Museum. After the opening ceremony, Zuo Zhengyao, director of the University Town Art Museum of Guangzhou Academy of Fine Arts and the chief curator of this exhibition, accepted an interview with the Art Museum and the Student Creative Art Center of the Academy, and shared with us his views on this exhibition and his perspective of the development of contemporary ceramic art.
2018年4月13日下午三时，“第三届广东当代陶艺大展”在大学城美术馆隆重开幕。开幕式后，广州美术学院大学城美术馆馆长，同时也是本次展览的总策划左正尧接受了美术馆与学院学生创意艺术中心的采访，与我们分享了他对本次展览以及当代陶艺发展的看法。
The following is the content of the interview with Zuo Zhengyao:
[Editor = Art Museum + Student Creative Art Center]
[Zuo=Zuo Zhengyao]
以下为专访左正尧的内容：
【编=美术馆+学生创意艺术中心】
【左=左正尧】
Editor: Can you share with us the creative experience of the exhibited works?
Zuo: The work I participated in this time is called "Round System", which is different from the direct exhibition of porcelain in the past. This time, according to the needs of the exhibition hall, I recreated this installation work. More than 4,000 years ago, in the late Neolithic Age, the ancients discovered the power of rotation in the whirlpool of flowing water and developed pottery carts. The Tao Che can be said to be China's fifth greatest invention, even earlier than the other four inventions. Because of the rotation technology, ceramics surpassed the original purely hand-made pottery industry in terms of spread and skill level, and the artisans also made the treasures of the town hall that appeared in the museum. There is also a movie played on an iPad in the work. The content played is a rotating wheel spliced with Lego. More than 80 years ago, Ole Kirk Christiansen (Ole Kirk Christiansen) of Billund, Denmark, invented assembled blocks from woodworking handwork, named Lego Lego. The game opened up children’s intelligence. The children used the rotating Lego to draw the sun and flowers. I used the pottery cart to condense technology and art. This is teaching and games, past and future, Eastern wisdom and Western civilization, traditional ceramic art and contemporary installations. Dialogue. The pottery cart turns to the left, Lego turns to the right, and the same axis rotates out of the ever-changing and multidimensional future world. This is my creative idea, hoping to convey various dialogues and cultural phenomena in the course of history.
编：您可以跟我们分享一下参展作品的创作感受吗？
左：我这次参展的作品叫《轮制》，与以往直接拿瓷器参展不同，这次根据展厅的需要，我重新创作了这件装置作品。四千多年前，新石器时代后期，上古人从流水的漩涡中发现了轮转的力度，研制出陶车。陶车可以说是中国的第五大发明，甚至比其他四大发明出现更早。因为有了轮制技术，陶瓷便在传播和技艺高度上超越了原有的纯手工制陶业，工匠也因此制造出现今博物馆里的镇馆之宝。作品里还有一个用iPad播放的片子，播放的内容是用乐高拼接了一个旋转的轮子。八十多年前，丹麦比隆的克里斯琴森（Ole Kirk Christiansen）从木工的手作中发明了装合积木，取名乐高Lego。游戏开启了儿童的智力，孩子用转动的乐高画出太阳和花朵，我用陶车凝练出技术与艺术，这是授业与游戏、过去与未来、东方智慧与西方文明、传统陶艺与当代装置的对话。陶车向左，乐高向右，同一个轴心，轮转出万变与多维的未来世界。这便是我的创作想法，希望传递出历史进程中的各种对话与文化现象。
Editor: Looking at ceramic art around the world, would you please talk about the status of contemporary Chinese ceramic art creation from an international perspective?
Zuo: Before the 1940s, China's pottery industry was relatively closed, with a relatively simple mindset, and was in the context of development with practicality as the mainstay. In the West, especially a group of ceramic artists represented by Peter Vaux of the Otis School of Art and Design in the United States, carried out a modern ceramic art reform in 1954-named "Otis Ceramic Art Revolution"-completely changed The evolution of pottery art. They segmented and destroyed the traditional utensils, even modified them, and changed the traditional utensils from the way of thinking to the entire body, making them completely lose their practical functions. In Japan, the modern ceramic art revolution represented by Yagi Kazuo is also breaking through the original integrity and practicality. From the United States to Japan, in the modern ceramic art revolution that has affected the world, a brand new style and language has appeared, which brings new characteristics of ceramic art. On the other hand, Chinese porcelain has reached a very high height more than 700 years ago, reaching an insurmountable craftsmanship level today. We can see the degree of precision achieved by porcelain from the Qing Palace Archives. The porcelain of the Qing Dynasty has strict drawings, as detailed as the size, height, weight, style, pattern, etc. of the vessel, and even the weight of each vessel type. The pieces and the number were clearly recorded, and then the pottery officer personally led them to Jingdezhen to make them. The porcelain produced in this way has basically reached the extreme in every batch, and once there are any defects, it will be smashed on the spot, absolutely excellence. However, after porcelain has developed to this level and reached its extreme, it has stagnated. Today, how do we make a breakthrough in porcelain? This is a real issue that Chinese ceramic artists must face today. How to use this material? How to use this process? How to improve its original integrity and traditional context? This is quite difficult, but because of this it becomes more challenging and more experimental.
编：纵观全球的陶瓷艺术，请您谈谈中国当代陶艺创作在国际视野下的状态？
左：在上世纪四十年代之前，中国的制陶业都比较封闭，思维比较单一，处于以实用为主体的发展脉络中。而西方，特别是以美国奥迪斯艺术与设计学院的彼得·沃克斯为代表的一群陶艺家在1954年进行了一场现代陶艺改革——被命名为“奥蒂斯陶艺革命”——彻底改变了陶艺的演进道路。他们对传统器皿进行分割和破坏，甚是改装，对传统器皿进行了从思维方式到整个形体的改变，让其完全失去实用功能。而在日本，以八木一夫为代表的现代陶艺变革，也一样在突破原有的完整性和实用性。从美国到日本，在影响全世界的现代陶艺变革中，一种全新的风格和语言出现了，这样就带来了陶艺的新特征。另一方面，中国的瓷器在700多年前就已经达到非常高的高度，达到了在今天来看都是不可逾越的工艺高度。我们可以从清宫档案馆里看到瓷器达到的精密程度，清代的瓷器，有严格的图纸，细到器皿的大小、高矮、重量以及它的款识、花纹等等，甚至每一个器型的重量和件数都记载得清清楚楚，然后由督陶官亲自带领去景德镇制造。这样生产出来的瓷器，基本上每一批次都达到了极致，一旦有任何瑕疵便就地砸碎，绝对精益求精。但是，瓷器发展到这程度、达到了极致后，便停滞不前，时到今日，我们该如何在瓷器方面有所突破，这是今天的中国陶艺家必须面对的、实实在在的课题。如何利用这个材料？如何利用此种工艺？如何在保持其原有的完整性和传统文脉上加以改进？这是相当具有难度的，但正因为这样才变得更有挑战性，也变得更有实验性。
Editor: In your opinion, how to break through the future development trend of ceramic art?
Zuo: Since the international art changes and trends have affected the trend of Chinese contemporary art, today's exhibitions and works are no longer a single, simplistic, and simulated expression of the past. The new concept makes the works have deep philosophical, social and thinking about the times and the environment, which makes people produce a kind of reflection that comes from the depths of the soul and wisdom, and achieves the essence of the form from the language of the form to the display style. Variety. For this reason, artists need to be exposed to the cultural background to express their personal views on society, which is a comprehensive manifestation of personal experience, experience and ability. Therefore, the art museum also needs to make new improvements in the way of exhibition arrangement, lighting, and work presentation. In this way, from the metaphysical display effect to the metaphysical theoretical interpretation, new heights and new guiding thinking will be formed. From artists to art museums, from critics to theoretical research, all follow up in all directions. Conceptual changes and breakthroughs are not only in art, but in life, in the course of history and humanity, fundamental changes in concepts are taking place. Therefore, we need to demonstrate this kind of academic strength and jointly promote the advancement of society.
编：在您看来，陶艺的未来发展趋势该如何突破？
左：自从国际上的艺术变革和风向影响到中国当代艺术的走势之后，今天的展览和作品已经不是过去单一的、简单化的、模拟性的表现。新的观念使得作品具有深层的哲学性、社会性以及对时代和所处环境的思考，让人产生一种真正来自于心灵深处和智慧深处的反思，达到从形式语言到展现样式的本质变化。正因如此，艺术家们就需要置身于文化大背景中去表现个人对社会的看法，是个人阅历、经历和能力的综合体现。那么，美术馆也就相应地需要在布展方式、灯光、作品呈现等方面作全新提升。这样一来，从形而下的展示效果，到形而上的理论诠释，会形成新的高度和新的导向思维，从艺术家到美术馆，从批评家到理论研究，都在全方位地跟进。观念的变革、突破，不仅仅是在艺术方面，其实在生活当中、历史人文的进程当中，都在发生观念性的根本变化。所以，我们需要彰显这样的学术力量，共同推动社会往前进。
Editor: As the general planner of this exhibition, can you share with us the exhibition planning process and feelings?
Zuo: The Guangdong Ceramic Art Exhibition is the third this year. For the third time, we have maintained the original set of modules for the exhibition, from planning, organization, arrangement to external promotion and final effects. In addition to the participation of members of the Ceramic Art Committee of the Chinese Artists Association and ceramic artists of the Ceramic Art Committee of the Guangdong Artists Association, the exhibition also invited ceramic artists from Hong Kong, Macau, and Taiwan as it is located in Guangzhou and is close to Hong Kong and Macau. Ceramic artists signed up for the exhibition, and after being selected by experts, the current exhibition form was finally formed. The development of Chinese contemporary ceramic art itself is neither in the academic practice of art nor at the forefront of market exploration. This exhibition shows the ecology of the development of Chinese ceramic art today. I think its academic significance and its significance for the promotion of ceramic art have been highlighted. . The development of ceramic art requires such exhibitions, and art museums also need to do exhibitions with academic breadth and practical significance. This is the significance of this exhibition.
编：您作为本次展览的总策划，可以跟我们分享一下展览的策划过程与感受吗？
左：广东陶艺大展今年已是第三届了，三届以来，我们一直对展览保持着原有的设定模块，从策划、组织、布置到对外宣传和最后效果，都有一定的把握。展览除了中国美术家协会陶艺委员会委员、广东美协陶艺委员会陶艺家的参与之外，由于地处广州，临近港澳，展览还邀请了来自香港、澳门、台湾的陶艺家，加上网上征集，青年陶艺家报名参展，经过专家的评选，最后形成了现在的展览形态。中国当代陶艺发展本身既不在艺术的学术实践，也不在市场探索的前沿，本次展览展现的正是今天中国陶艺发展的生态，我觉得它的学术意义和对于陶艺推动的意义，都已经凸显出来。陶艺的发展，需要这样的展览，美术馆也需要做具有学术宽度以及现实意义的展览，这正是本次展览的意义所在。