主辦單位：中國美術學院Host:?China Academy of Art

承辦單位：中國美術學院民藝博物館Organizer:?Crafts Museum of China Academy of Art

學術支持：中國美術學院中國文化設計研究所Academic support:?China Research Institute for Culture and Design in China Academy of Art

展覽地點：中國美術學院民藝博物館1、2、3、5、6、7、8號廳/杭州市西湖區(qū)象山路352號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

展覽時間：2023年10月10日-2023年10月25日Duration:??October 10, 2023—October 25, 2023

學術指導：杭間、連冕Academic advisor:?Hang Jian, Lian Mian

策展人：雪潤枝Curator:?Xue Runzhi

聯(lián)合策展：王克震、金暉、胡世法

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

行政總監(jiān)：金曉依Administrative director:?Jin Xiaoyi

展覽協(xié)調：任曉煒、李計亮、黃艷、馬群、馬穎、何柳映

Exhibit coordinator:?Ren Xiaowei, Li Jiliang, Huang Yan, Ma Qun, Ma Ying, He Liuying
空間設計：黃曉菲、Steve Jensen（英國）

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

視覺設計：CLDesign Studio欒嘉輝、江航、陳錚

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

展覽助理：沈飛錦、章樂妮、趙天恒、尤紅果、項棋棋、謝佳芮、劉語泉、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

展覽攝影：楊濤、劉永戈

Photographer:?Yang Tao, Liu Yongge
展品收藏與支持（按漢語拼音排序）：東西藝術空間、范邱漆研所、JALAB首飾實驗室、農造NONGZAO、融設計圖書館、上海市公共藝術協(xié)同創(chuàng)新中心（PACC）、同濟大學設計人工智能實驗室、特贊信息科技〡Tezign.com、元白展廳、顧青、時翀、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

人類的技術思想歷時悠久，在中國古代就有“技”“工”“器”“術”“法”“門”“道”“機巧”等描述技術的相關詞匯。回溯中國古代工藝的發(fā)展，手工藝的歷史是一部人類文明的技術進步史。中國古代典籍《考工記》《營造法式》《天工開物》等的出現(xiàn)，新材料的研制和開發(fā)，所有的人造物都貼上了科技與藝術的標簽。在后現(xiàn)代技術的語境下，關于手工藝中藝術與技術關系的探討，對手工藝的現(xiàn)代化發(fā)展具有特殊的意義，也為我們思考藝術和技術在當代手工藝中的角色和價值提供了思路和啟示。在人工智能的背景下，新技術的應用催生了全新的生活和文化形態(tài)。技術的不斷迭代對手工藝的創(chuàng)作和生成方式產生了巨大的影響。新的手工藝媒介和數(shù)字化技術應用，使得手工藝品的制作變得更加靈活、精確和高效，同時也為手工藝品的推廣和傳承提供了更廣闊的空間。如何將當代科技手段融入傳統(tǒng)手工藝中，以推動手工藝的創(chuàng)新發(fā)展，以及如何深化新工藝本體語言的研究等，都是我們面臨的時代課題。當下，新技術在工藝領域的應用革新了設計與制作方式，新一代的工匠正通過各種新技術實驗對“材美工巧”“心手相應”等傳統(tǒng)理念作出創(chuàng)造性的詮釋。數(shù)字化和智能制造方式深刻改變了傳統(tǒng)工藝創(chuàng)作的思維邏輯和發(fā)展模式，隨著計算機技術和相關智能設備的發(fā)展，手工藝創(chuàng)作已經(jīng)不再僅僅依賴于個人的創(chuàng)造力和手工技藝，而是可以利用這些技術和設備來輔助構思和制作，AI的發(fā)展甚至會從根本上改變目前的“輔助”，而走向手工藝遠離“人”的未知。因此，大眾擔憂技術介入手工藝創(chuàng)新，會使手工藝喪失“手的價值”和人文情感、溫度，這是手工藝目前面臨的挑戰(zhàn)?；趯W術研究和立場，在當下“新文科”學科建設背景下，本展覽旨在探討當代手工藝中藝術與科技的融合、新技術與新人文的鏈接，探索未來工藝交叉、跨學科研究的發(fā)展方向，圍繞“科技與人文”“傳統(tǒng)技藝與當代媒介”“新技術與工藝美術”“新技術實驗與材料跨界”“當代形態(tài)與觀念表達”等問題進行研究性展示，以此促進對話、引發(fā)思考。展覽邀請了國內外陶瓷、金工、漆藝、玻璃、木作、纖維等領域采用新技術探索實驗的近80位手工藝術家與設計師的作品與項目，共計四百余件作品，展示了新技術介入工藝實踐中材料、形態(tài)、肌理、觀念的突破，呈現(xiàn)了當代手工藝實驗的多樣感知與形式表達，展覽希望關注正在生發(fā)的新工藝形態(tài)與未來趨勢，為助力新時代中國現(xiàn)代手工藝的創(chuàng)新發(fā)展提供借鑒。

雪潤枝
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?術?(art)”, “fa?法?(methodology)”, “men?門?(knack)”, “tao?道?(way)”, “jiqiao?機巧?(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?考工記?(The artificers' record),?Yingzao fashi?營造法式?(A Chinese treatise on architecture),?Tiangong kaiwu?天工開物?(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

參展作品（部分）Exhibited works (part)

黃慧貞、唐偉焜：《DONG》，侗族亮布、土布、304不銹鋼，2023Huang Huizhen, Tang Weikun: DONG, cloth/nankeen/304 stainless steel, 2023

轉下集

參展藝術家名單（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)
第一版塊?傳統(tǒng)技藝與當代媒介

安田猛（日本）、陳英澤、程立斌\PACC團隊、大迫友紀（日本）、Felicity Aylieff（英國）、Frieda Dorfer（德國）、范建軍、高鳳麟、洪張良、李恒（中國臺灣）、林秀清\陳昆鯤、龍一、劉吾香、劉小聰、羅美云、閔復基（韓國）、倪獻鷗、彭喆、石大宇、施君、譚穎君（中國香港）、王曉昕、聞子煦、熊開波、殷建國\謝震、周嬌、章俊杰、趙子晗、張周捷

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
第二版塊?科技探索與材料跨界

蔡赟驊\王澤強\山赴、陳欽圳、丁馥霓\周悅、范凌、范煒焱、Geneva?Bergelt（美國）、林一蕙、馬川、RESTUDIO、童心笛\沈婷、吳永瑩\侯嘉敏、王小丁、夏寸草\鐘宇軒\崔柯淞\楊柳\鐘佳琪\孟律、許剛\葉偉鑌\張爽、許剛\譚雅圖\葉偉鑌\何紫欣、郁新安、張一楊、趙霏越\劉逸瑾\鞏崇智\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
第三版塊?技術感性與觀念表達

畢蓉蓉、陳未與、程之璐、高尚、何大勐、黃子昕、Jiro?Kamata（日本）、紀海燕、李雅娜、李玉普、彭倩、施鵬程、施琪、蘇揚、蘇齊、Takayoshi Terajima（日本）、Tricia Flanagan（澳大利亞）、王克震、王欣、王越、王智鵬、吳佳恒、吳仕奇、謝震、許嘉、徐鑫樺、袁婧雯、朱美霖、趙爾東、趙瑾雅、鄭聞卿、周悅\馮冰心

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