学术顾问（按英文名首字母排序）：傅中望、大西长利、皮道坚、乔十光、金圣洙、张颂仁
第五届湖北漆艺三年展以“变·通”为主题，主要从以下几个问题展开思考与策展。漆艺制作周期漫长、工艺繁复、材料昂贵，与快消时代完全不相适应，为什么要传承漆艺？其当代价值何在？湖北美术馆集全馆之力每三年举办一届“湖北漆艺三年展”，其社会价值何在？时代变局中“艺术何为”是重要议题，漆艺能否更具广度和温度？漆艺界的材料论、技与艺的平衡、审美和功能与时代脱节、漆艺表征和边界等问题，传统认知与定式思维已经影响到漆艺的健康发展。
在变化中思辨，于变通中开新局，是目前漆艺发展所需，本届三年展意在提供思辨语境，对漆艺“当下之变”和“未来可能”进行开放式展望，以期打通漆艺发展的通道，获得更多视角、联通更多资源、创造更多可能。
传承漆艺的必要性不仅在于悠久的历史和精湛的工艺，更在于漆艺具有与时代生活建立广泛而深刻联系的可能，无论是艺术创作、日常器用，还是漆艺文创、修复等领域，都有极大发展空间。漆艺的当代价值不应囿于“物”或“艺”的层面，剥开其外壳，在“髹”与“饰”的经验中一窥传承千年的民族智慧，从“造物”的精妙中体悟自然之道，从“工”“匠”的思辨、“技”“艺”的依存及交融中见生活见修为，如此，漆艺所蕴含的思想、文化张力，才是启迪的、绵长的。
本届三年展，首次尝试用影像传播漆艺界前辈可书可感的历史担当和开拓，同时大胆构想不以“物”的创造为终点，而以漆艺社会价值及其与当代生活关系的重塑作为更高目标，探索漆艺从物态衍化成为一种“实践”或“价值观”的可能。因此呈现的作品既有经典的漆器、漆画，实验性的装置、影像，也有以漆为纽带在地艺术项目，以及基于材料和工艺的研究项目或数字交互设计等新尝试。
通过提供有价值的内容重塑漆艺及其当代价值，应是更终级的策略和责任。展览四个单元“致敬艺匠”、“漆言思辨”、“造物髹漆”、“通变重塑”，旨在从致敬、创作、设计、学科边界的角度进行思辨，希冀在呈现漆艺温润含蓄之美，及其万物可漆的包容性和保护、装饰、修复等功能性的同时，让观者感悟其间蕴藏的可贵品质，将漆艺作为一种方法完成对自我生命的积极塑造，最终形成以营造传统为根基、以艺术性为引领、以创新性为驱动的大漆艺术文化共同体。
World of Lacquer: Change & Connection—2023 Hubei Lacquer Art Triennial
Guided by: Hubei Provincial Department of Culture and TourismSponsor: Hubei Museum of ArtDuration: March 17 to May 18, 2023Opening Time: 10:30 am, April 7, 2023Venue: Gallery 1,2,4-7, B1Art Director: Ji ShaofengAcademic Consultants (in alphabetical order): Fu Zhongwang, Nagatoshi Onishi , Pi Daojian, Qiao Shiguang, Sungsoo Kim , Tsong-zung ChangAcademic Chairs: Hu Ying, Xia ZiAdministrative Director: Liu LiyingAssistant Curators: Zhang Qian, Cheng Ran, Li YujuanExhibition Designers: Qiao Jie, Xu Jian, Tian YePublicity & Promotion: Xia Zi, Fu Jian, Zeng JingPublic Education: Lei Yating, Song CanExhibition Coordination: He Shujun, Zhang QianExhibition Reception: Huang Li, Wang Jiawen,Li YutingWork Collection: Ma Wenting, Zhang Li
World of Lacquer: Change & Connection—2023 Hubei Lacquer Art Triennial Curatorial Notes
With the theme of
"Change & Connection", the 5th Hubei Triennial of Lacquer Art
focuses on the following issues to explore and curate the exhibition. Lacquer
art works require long production cycles, complicated technology, and expensive
materials, which are completely incompatible with the fast-moving consumer
goods era. So why do we need to inheriting lacquer art? What is its
contemporary value? Hubei Museum of Art holds the "Hubei Triennial of
Lacquer Art" every three years with the efforts of the whole museum. What
is its social value? In the changing times, "What should art do" is
an important issue. Can lacquer art be more extensive and heartwarming? The
material theory of lacquer art, the balance between technology and art, the
aesthetics and functions that are out of touch with the era, the representation
and boundary of lacquer art and other issues all show that traditional
cognition and stereotype thinking have affected the sound development of
lacquer art.
It is necessary
for the development of lacquer art to speculate in changes and open up new
prospects in changes. The Triennial aims to provide a speculative context and
an open outlook on the "Current Changes" and "Future
Possibilities" of lacquer art, so as to open up the channel for the
development of lacquer art, obtain more perspectives, connect more resources,
and create more possibilities.
The necessity of
inheriting lacquer art lies not only in its long history and exquisite
craftsmanship, but also in the possibility of establishing extensive and
profound links with the life of the times. There is great development space for
lacquer art in the fields of artistic creation, daily utensils, and cultural
creation and restoration of lacquer art works. The contemporary value of
lacquer art should not be confined to the level of "Objects" or
"Technique". Peel off its shell, we should get a glimpse of the
national wisdom inherited for thousands of years from the experience of
lacquerware decoration techniques, understand the way of nature from the
subtlety of art creation, and see the cultivation of life from the speculation
of craftsmanship, the dependence and integration of techniques and skills. In
this way, the ideological and cultural tension contained in lacquer art is
enlightening and long-lasting.
This Triennial is
the first attempt to spread the historical responsibility and development of
lacquer art predecessors through the images. At the same time, with bold ideas,
it does not end with the creation of "things", but with the social
value of lacquer art and its reshaping of the relationship with contemporary
life as a higher goal. It explores the possibility of lacquer art evolving from
a physical state into a "practice" or "value". Therefore,
the works presented include classic lacquerware, lacquer painting, experimental
installations, experimental films, local art projects with lacquer as the link,
and new attempts such as research projects based on materials and crafts or
digital interactive design.
Reinventing
lacquer art and its contemporary value by providing valuable works should be a
more ultimate strategy and responsibility. The exhibition's four units,
"Salute the Master", "Diverse Voices from Lacquer Art",
"Design System of Lacquerware" and "Beyond Boundary and
Recreation", are designed to reflect from the perspectives of respect, creation,
design and disciplinary boundaries. They aim to present the warm and implicit
beauty of lacquer art, as well as its inclusive protection, decoration,
restoration, and other functions, so that visitors can feel the precious
qualities contained in it and regard lacquer art as a method to complete the
positive shaping of their own life, ultimately forming a Chinese lacquer art
and culture community based on tradition, guided by artistry, and driven by
innovation.
Academic
Chair: Hu Ying, Xia Zi Curator: Zeng
Jing
崔钟官 / 韩国（ Choi Jongkwan /South Korea）《雪花纹双层橱柜》 / Korean Traditional Snowflake Patterns Furniture (Nunkkotsongee Nong)
大漆、麻 、红黏土、韩纸 / Natural lacquer, hemp, red clay, traditional Korean paper
112cm×74cm×40cm
2019年
《漆木遗存》 / Remains of Lacquered Wood
木、大漆、综合材料 / Wood, natural lacquer,comprehensive
materials
尺寸可变 / Variable-sized
2022年
《红金斑犀皮漆提梁盒》 / Red and Gold Spot Rhinoceros Leather Lacquer Box with a Loop Handle
大漆、古瓦灰、天然矿物颜料、金箔、小叶紫檀（木胎） / Natural lacquer, ancient tile ash, natural mineral pigment, gold foil, red sandalwood (wooden body)
30.2 cm×21.0 cm×29.0cm
2020年
郑容宙/韩国 （Jung Yongju / South Korea）《结构对话》 / Structure Conversation
桦木胶合板、大漆、螺钿 / Birch plywood, natural lacquer, mother of pearl
35cm×32cm×35cm
2019年
金圣洙 /韩国 （Kim Sungsoo/ South Korea）《聚焦1》 / Focus 1
大漆、螺钿、木板 / Natural lacquer, mother-of-pearl, wood
194.2cm×112 cm
2018年
《边界线MYC》 / Margin Line MYC
大漆、亚克力 / Natural lacquer, acrylic
80cm×104cm×3
2021年
李鹏飞 / Li Pengfei（图片为作品局部）《227 种子计划 山西》 / Seed Project Covering 227 Villages in Shanxi
中国天然大漆、金属板、铜粉、种子、贴纸 / Chinese lacquer, metal plate, copper powder, seeds, sticker
315 cm × 136 cm
作品分为两种金属板：种子金属板、文献金属板 / Two types of metal plates used in the work: those for seeds and those for literature
2022年
《融》 / Integration
大漆、麻布、瓦灰、碳粉、黄标 /Natural lacquer, hemp cloth, tile ash, carbon powder, yellow-label-colored powder
220cm×170cm×54cm
2021-2022
三田村有纯 /日本（Mitamura Arisumi / Japan）《天地创成》 / Creation of Heaven and Earth
145cm×145cm×30cm
金粉、银粉、漆、木、麻布 / Gold powder, silver powder, lacquer, wood, hemp cloth
2021年
阮明光 /越南（Nguyen Minh Quang / Vietnam）《面对面》 / Face to Face
木板、漆/wood， Lacquer
100cm × 100cm
（9张板） / (9 panels)
2020年
田中信行 /日本（Nobuyuki Tanaka / Japan）《触生的记忆》/ Tactile Memory
干漆 / Dry lacquer
87cm×46cm×31cm
2022年
大西长利 /日本 （ONISHI Nagatoshi/ Japan ）《风衣》 / Kazegoromo
大漆、麻布、土粉末 、米糊、色料、 螺钿 / Natural lacquer, hemp cloth, soil powder, rice paste, pigment, mother-of-pearl
100cm×25cm×24cm
2022年
《苍穹之五》 / Heaven V
木板、麻布、大漆、蛋壳 / Wood board,hemp cloth, natural lacquer, eggshell
160cm×120cm
2009 年
莎·莎·希格比 /美国（Sha Sha Higby /USA）歌/ Song
干漆、木条、线、铜 / Dry lacquer, stick, wire, copper
39cm×39cm×39cm
2022年
唐明修 / Tang Mingxiu（图片为作品局部）《漆园道書》/ The Book of Chuang Tzu
生漆、大漆、木头 / Raw lacquer, natural lacquer, wood
8.67m×3.37m（合计510件，展出数量可变） /（ 510 components in total, varied in specific exhibition）
2021年
《中华璧》/ Chinese Bi
大漆、夏布、瓦灰、铁粉 / Natural lacquer, grass linen, tile ash, ferrous powder
直径180cm / Diameter: 180cm
2022年
乌玛玛 /缅甸（U Maung Maung / Myanmar）《漆竹盘》 / Bamboo “Yun” tray
竹、漆 / Bamboo、lacquer
Φ31cm
2010年
文森·漆 /法国（Vincent Cazeneuve / France）《无题》 / Untitled
大漆、40块脱胎漆板与8块木板、金箔、炭黑 / Natural lacquer, 40 bodiless lacquer tablets and 8 wooden tablets, gold leaves, lamp black
180cm×192cm
2020年
《非道·非名》 / Non-Tao · Non-Name
大漆、麻布、老杉木、瓦灰、金银箔 / Natural lacquer, hemp cloth, old fir, tile ash, gold and silver foil
180cm×120cm×5cm×2
2022年
《开卷》之一 / Open Book I
大漆、麻布、瓦灰、入漆颜料 /Natural lacquer, hemp cloth, tile ash, colored ripe lacquer
191cm×123cm
2022年
吴先尧 / Wu Xianyao
《春日花语》 / Spring Flowers
脱胎、大漆、螺钿、金箔、银箔 / Bodiless base,natural lacquer,mother-of-pearl, gold foil, silver foil
直径18cm×高19cm / 18 cm (diameter) × 19 cm (height)
2022年
《游园惊梦》 / A Stroll in the Garden and an Interrupted Dream
木胎、大漆 / Wood base, natural lacquer
36.8cm×84.5cm×6cm
2022 年
《月盈·月蚀·月缺》 / Full Moon · Eclipse · Waning Moon
麻布、大漆、色料 / Hemp cloth, natural lacquer, pigment
540cm×180cm （单块60cm×60cm） / 540cm×180cm (60cm×60cm each piece)
2022年
《素光》 / Nature of Light
生漆、夏布 /Raw lacquer, ramie cloth
205cm×50cm×0.2cm×4
2022年
致敬艺匠/Salute to the Master：
白明/Bai Ming、蔡克振/Cai Kezhen、陈金华/Chen Jinhua、陈立德/Chen Lide、陈勤立/Chen Qinli、程向军/Cheng Xiangjun、崔钟官（韩国）/Choi Jongkwan（South Korea）、茅冒（缅甸）/Daw Maw Maw Aung（Myanmar）、范福安/Fan Fu'an、傅中望/Fu Zhongwang、甘尔可/Gan Erke、黄宝贤（中国台湾）/Huang Baoxian（Taiwan, China）、郑容宙（韩国）/Jung Yongju（South Korea）、金圣洙（韩国）/Kim Sungsoo（South Korea）、金雪（韩国）/Kim Seol（South Korea）、李伦/Li Lun、李永清/Li Yongqing、梁远/Liang Yuan、林栋/Lin Dong、林怡/Lin Yi、松岛樱子（日本）/Matsushima Sakurako（Japan）、三田村有纯（日本）/ Mitamura Arisumi（Japan）、栗本夏树（日本）/Natsuki Kurimoto（Japan）、田中信行（日本）/Nobuyuki Tanaka（Japan）、小椋范彦（日本）/Ogura Norihiko（Japan）、吴球焕（韩国）/Oh Goohwan（South Korea）、大西长利（日本）/Onishi Nagatoshi（Japan）、大塚智嗣（日本）/Otsuka Tomotsugu（Japan）、乔十光/Qiao Shiguang、阮界望/Ruan Jiewang、沈克龙/Shen Kelong、唐明修/ Tang Mingxiu、汤志义/Tang Zhiyi、乌玛玛（缅甸）/U Maung Maung（Myanmar）、汪天亮/Wang Tianliang、王向阳/Wang Xiangyang、未明/Wei Ming、文乾刚/Wen Qiangang、翁纪军/Weng Jijun、谢震/Xie Zheng、张承志/Zhang Chengzhi、张温帙/Zhang Wenzhi、钟声/Zhong Sheng、周剑石/Zhou Jianshi、祝重华/Zhu Chonghua
漆言思辨/Diverse Voices from Lacquer ：
白阅雨/Bai Yueyu、陈东杰/Chen Dongjie、方兆华/Fang Zhaohua、郭小一/Guo Xiaoyi、胡本七/Hu Benqi、胡敬珂/Hu Jingke、江宇轩/Jiang Yuxuan、金晖/Jin Hui、赖晓龙/Lai Xiaolong、李小军/Li Xiaojun、连旭云/Lian Xuyun、林蓉蓉/Lin Rongrong、林涛/Lin Tao、刘吾香/Liu Wuxiang、路瑶/Lu Yao、阮明光（越南）/Nguyen Minh Quang（Vietnam）、潘草原/Pan Caoyuan、阿占发（泰国）/Phumapee Kongrit（Thailand）、乔加/Qiao Jia、邱志军/Qiu Zhijun、施鹏程/Shi Pengcheng、谭大利/Tan Dali、田猛/Tian Meng、文森·漆（法国）/Vincent Cazeneuve（France）、王炳根/Wang Binggen、王丽楠/Wang Linan、吴朋波+周芬/Wu Pengbo+Zhou Fen、吴淑芳/Wu Shufang、武非/Wu Fei、谢晓泽（美国）/Xie Xiaoze（America）、许剑武/Xu Jianwu、姚邦亮/Yao Bangliang、张俊/Zhang Jun、赵建伟/Zhao Jianwei、赵艺粼/Zhao Yilin 造物髹漆/Design System of Lacquerware：杜妍洁/Du Yanjie、段祥莉/Duan Xiangli、范建军/Fan Jianjun、范潇/Fan Xiao、高裕华/Gao Yuhua、韩洪波/Han Hongbo、金荷宛（韩国）/Kim Hawon（South Korea）、成盐漆作工作室/LACQUER CHENGYAN、李竞/Li Jing、李梦迪/Li Mengdi、廖胜文（中国台湾）/Liao Shengwen (Taiwan, China)、刘清/Liu Qing、刘宇/Liu Yu、卢子翔/Lu Zixiang、马颖/Ma Ying、奥尔加·阿卢瓦（西班牙）/Olga Aloy（Spain）、潘玲/Pan Ling、品物流形设计工作室/PINWU、屈棪博/Qu Yanbo、沈俊杰/Shen Junjie、石宇光/Shi Yuguang、史棋如/Shi Qiru、苏杭/Su Hang、孙锦涛/Sun Jintao、吴先尧/Wu Xianyao、谢林瀚/Xie Linhan、熊潇潇/Xiong Xiaoxiao、徐晶/Xu Jing、乐黎/Yue Li、张力心/Zhang Lixin、赵丹阳/Zhao Danyang、郑皓真/Zheng Haozhen、郑杰/Zheng Jie、赵海莉（韩国）/Cho Haeree（South Korea）、朱唯/Zhu Wei
通变重塑/Beyond Boundary and Reshaping Connotation：柴晗晓/Chai Hanxiao、常瑶昱/Chang Yaoyu、陈俊/Chen Jun、陈卓/Chen Zhuo、戴燕怡/Dai Yanyi、方来东/Fang Laidong、傅文超/Fu Wenchao、郭天天/Guo Tiantian、星温美（日本）/Hoshi Atsumi（Japan）、胡心叶/Hu Xinye、蒋威/Jiang Wei、李鹏飞/Li Pengfei、李岩/Li Yan、刘涵/Liu Han、刘善林/Liu Shanlin、刘思捷/Liu Sijie、陆雨龙/Lu Yulong、朴成烈（韩国）/Park Sung Youl（South Korea）、齐依凡/Qi Yifan、任飞/Ren Fei、融设计图书馆/Rong Design Library (China）、莎莎·希格比（美国）/Sha Sha Higby（America）、沈也/Shen Ye、谷沢周子（日本）/Tanizawa Shuko（Japan）、王国建/Wang Guojian、杨倩云/Yang Qianyun、喻佳欣/Yu Jiaxin、张钧雷/Zhang Junlei、张志纲/Zhang Zhigang、周芳/Zhou Fang、周军南/Zhou Junnan、周玮/Zhou Wei
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