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“重庆民艺沙龙”将以民艺为主题,持续邀请各领域关注民艺发展的人士参与交流,探讨民艺的现代化方法道路。本次沙龙作为开端,邀请了主要在重庆地区活跃的青年民艺传承实践者分享自己专业发展的经验故事。他们来自不同专业,有设计师、艺术家、非遗传承人,都选择了以发展民艺为自己的事业立身之本。希望聚合他们的赤子之心,植根在地社群的时代生态,共享专业发展的经验,也以此拓展与更广阔领域的专家、学者、以及政府文旅工作者互通有无,交流合作。我们需要打破旧有学科边界观念桎梏,通过实践创造新工作方法。面对各自不同诉求交织所产生的问题,在实践过程中去回应解答,正是我们所得的收获。
"Chongqing Folk Art Salon" will take folk art as the theme, continuously invite people who are concerned about the development of folk art to participate in the exchange, explore the way of modernization of folk art. This Salon is just a beginning, inviting the young folk art inheritance practitioners who are mainly active in Chongqing to share their experience stories of professional development. They come from different professions, like designers, artists, non-hereditary people, have chosen folk art as their lifetime career. The Folk Art Salon will continue to converge resources, to root in the era of the local community, to share the experience in profession development, and to expand horizon in a way of exchanging and cooperating with the experts, scholars in a wider field as well as the government's cultural-tourism workers. We need to break the shackles of old disciplinary boundaries and create new approaches through practice. To answer and solve the problems interweaving together from different demands in the process of practise is our mission.

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主  题:民艺之光——重庆民艺实践者交流沙龙
时  间:11.10(周日)下午14:00-17:30
地  点:四川美术学院黄桷坪校区雕塑楼309工作室
策展人:曾令香、邵丽桦
主持人:邵丽桦
演讲嘉宾:
子和、朱培钢、任长松、张静、冉宏图、兰航、陈畅
对谈嘉宾:
曾途、曾令香、靳立鹏、陈聪、陈灿
列席嘉宾:
王倩予、郭良、倪澜、廖铮、苏欧洋、刘刚、贺明凤、邓杰、覃晓黎、丁月华
主办单位:十方艺术中心、归真艺术创新中心
协办单位:四川美术学院乡村振兴与民艺活化特色工作室、四川美术学院跨媒体特色工作室
媒体支持:重庆文艺广播、日常发生、喵儿石、貳厂、长江人文艺术半岛
Theme: Light of Folk Art-Chongqing Folk Art Practitioner Exchange Salon
Time: 2.Nov (Sun.) 14:00-17:30
Venue: 309 Studio, Sculpture Building, Huangjueping Campus, Sichuan Fine Arts Institute
Curator: Lingxiang Zeng, Lihua Shao
Host: Lihua Shao
Guest Speaker: Hoo Zi, Peigang Zhu, Jing Zhang, Hongtu Ran, Hang Lan, Chang Chen
Dialogue Guest: Tu Zeng, Lingxiang Zeng, Lipeng Jin, Cong Chen, Can Chen
Attending Guest: Qianyu Wang, Liang Guo, Lan Ni, Zheng Liao, Ouyang Su, Gang Liu, Jie Deng, Mingfeng He, Jie Deng, Xiaoli Tan, Yuehua Ding
Organizer: Dimensions Art Center, Essence Art Innovation Center
Co-organizer: Sichuan Fine Arts Institute Rural Revitalization and Folk Art Activation Studio, Sichuan Fine Arts Institute Cross Media Studio
Media: Chongqing Happy Radio FM103.5, Happening Here , Mao er' Art&Ceative Zone, TESTBED 2, Yangtze River Humanities and Arts Peninsula


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民艺复归社群
民艺曾是农业手工业时代人们的日常生活,根植于普通百姓的手作、身心对自然的深切感悟,以各种技艺为载体,是人类造物与自然和谐的体现。我们目前所处工业科技化时代,机械化大规模生产替代手工,提高效率,大范围地增进了人类物质福祉。但是细化的工业生产分工,单一性知识结构,人们动手能力急剧下降,带来人类身心发展失衡。人与人、人与自然间的温暖,关怀,逐渐消失。有着人类手温,自然关怀的民艺和现代社群之间已经距离遥远,即使在乡村人们也不再需要自己动手制作日常生活所需之物。工业高效带来物质极大丰富的同时,也造成物质极大浪费和地球环境严重破坏,这些问题亟待解决。我们立足现实情况,反观手工业时代,人与社会与自然的平衡关系,可以给我们指导现在和未来发展的经验及智慧。
同为东亚文化圈的邻国日本花费近百余年积累,成为现代民艺保护发展、公众美育模范。日本近代民艺宗师柳宗悦曾说“如果要追求从自然中产生的健康,朴素,充满活动力的美的话,那就必须来到民艺的世界。”民艺文化可谓取之于民,用之于民,造福于民。
民艺、非遗传承、艺术的生活之用、中国传统文化复兴——近年在政府强有力的号召与推行下,全国各地大众美育、民艺活动实践现场发声众多,渐成为各界关注的文化热点。参照日本民艺运动历程的经验,我们立足重庆的在地特点,正开展民艺传习、非遗调研、艺术研讨、理论研究的系统工作。生发本地现场实践,总结本地经验模式,加强与其他地区同业的交流合作,探索一条属于重庆本土的民艺发展、非遗活化、公众美育的自生态发展模式与开放持续的专业道路。
唤起、接触、持续…
目前我们处于起步阶段,在城市和乡村中,重新唤起公众对于民艺的亲近情感,有机会接触到民艺美育活动,切身体会到日常生活中的美。我们也要回应时代的现实需求,政府的非遗活化、文创产业政策都是很好的助力。在基础社群中开展各种形式的民艺美育活动,走出一条可持续发展的道路。让艺术之花生长于民众间,才会长开常新。
Folk art was once a daily life of people in the age of Agriculture and Handicraft Industry. It was rooted in the common people's handwork and their deep understanding of nature. We are now in the era of industrial science and technology, mechanization of large-scale production replaces the manual to improve efficiency and the material well-being of mankind. But it is because of the refined Industrial Division of Labor and single knowledge structure that people's ability to operate is sharply weakened, which leads to the imbalance of human physical and mental development. On the other hand, care and warmth between human beings and between human and nature are gradually disappearing. Folk Art and community are far apart. The high efficiency of industry brings not only material abundance, but also material waste and environment destruction which are the problems that need to be solved urgently. Base on the reality, looking back on the handicraft era and the balance between human and society and nature can give us the experience and wisdom to guide the present and future development.
Japan, also a neighbour of the SINOSPHERE, has spent more than 100 years building up a model for the preservation and development of folk art and public aesthetic education. Yanagi Sōetsu, the master of modern Japanese folk art, once said, "If we want to pursue the beauty of health, simplicity and vitality produced from nature, then we must come to the world of folk art. " Folk art and culture is taken from the people and used by the people for the good of the people.
In recent years, under the strong call and promotion of the government, the public aesthetic education across the country and folk art activities, such as the folk art, intangible heritage inheritance, the use of art in daily life, the revival of traditional Chinese culture, are gradually becoming the cultural focus of attention of society. With reference to the experience of the Japanese Folk Art Movement, we are devoted to explore a self-ecological development model and an open and sustainable professional road of folk art development based on the local characteristics of Chongqing, carrying out the systematic work of folk art teaching, investigation and research on intangible heritage, art discussion and theoretical research, generating on-the-spot practice and summarizing the local experience modelstrengthening exchanges and cooperation with other regions to, intangible heritage activation and public aesthetic education.
To arouse, to contact, to sustain....
At present, we are at the initial stage where we focus on arousing public awareness of aesthetic education and offering an opportunity to receive aesthetic education. Also we must respond to the needs of the times when the government's intangible heritage reactivation and the cultural and creative industry policy is being boosted. To carry out various forms of aesthetic education activities in the community and carve out of a sustainable development path, we need the flower of art to grow among the people, and so it will be always changing and everlasting.

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