主办单位：湖北美术馆

展览时间：2023年3月17日-5月14日（暂定）

艺术总监：冀少峰

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

学术主持：胡莺、夏梓

展览统筹：刘力英

策展人：曾静

“推动传统漆艺的当代价值转换”一直是湖北美术馆举办湖北国际漆艺三年展的学术主旨。从“材质·方法·精神”到“源·流”，再到“时序”与“器·象”，连续四届湖北国际漆艺三年展的成功举办，在国内外打开了良好的局面，同时奠定了其学科前沿的高度与方向。本届湖北国际漆艺三年展将以“变·通”为主题，继续漆艺“再生性传承”的探索，并以更全面的文化视野观照漆艺创作及相关问题，以期建立多维度链接。

古文“變”从丝从言从攴，丝为乐器，攴为手，原指弹琴时手指在不同琴弦间移动。丝言不绝者为“变”之范式，其引申义非常丰富，《康熙字典》载“更也、易也、化也、通也、动也”等，本质上只是客观描述，而“变”的方向，取决于思辨的智慧。“通”本意为通达、没有障碍，后引申为疏通、互相连接。顾颉刚先生在古史考辨方面的重要贡献在于提供了一种新方法，即对于古史的研究及其主要观点，不在其真相而在于其变化。以此审视当下漆艺发展，是否“变”，如何“变”，需在变化中“辨”，才能“通”。

本届三年展拟分“致敬艺匠”、“造物髹漆”、“漆言思辨”、“通变重塑”四个单元，每单元围绕一个话题，试图通过对“工匠精神”、“设计思维”、“原汁原味”、“边界重塑”的思辨，将漆艺研究的视野逐层打开，并使之串联为一个通道，从而以“变”达“通”，于变化中开新局，推动漆艺在“文旅融合”“守正创新”的时代背景下从传统手工艺向当代艺术创作、设计、公共文化的多向度发展，实现其物性上的不断延展、精神上的不断生长，并借此打开一个纵深思考的开放式讨论空间。

1.致敬艺匠

在传统漆艺的现代化进程中，前人的技术经验与造物智慧，对工艺之美的执着和对大漆材料本身的敬畏，乃是漆艺界传承创新探索过程中一座精神灯塔。本届三年展拟向漆艺领域贡献卓越的前辈艺术家和工艺大师征集影像纪录，以期建立艺匠档案库，在展示、传播、交流中向工匠精神致敬。

2.造物髹漆

“造物髹漆”意在强调漆艺设计思维的开放性和深刻性。当代设计体系逐渐从关注人和物的关系，转换为关注人与环境、人与人的关系，那么，如何将传统的美材良工转化为当代的生活之美与生活之道？设计的介入不应止于使用或美化外观，而应力求与古为新，提供面向世界和未来的价值观，塑造更多附加值，用传统手工艺讲好当代“中国故事”。

3.漆言思辨

当下漆艺创作不乏积极探索以艺术的方式活用漆工艺、进行形式和语言的多元化创新，在展现漆艺“活性”的同时，也遭遇了“丧失漆艺原汁原味”的质疑。“漆言思辨”意在强调将“原汁原味”理解为贯穿漆艺历史和髹饰工艺的一种哲学精神，即人与自然、与人造物、与时空的相处之道。期待有更多研究漆语言本体美、呈现漆语言丰富层次的作品，以中国古典智慧为内核的漆艺实践对话新时代。

4.通变重塑

“通变”是所有传统艺术革新的必经之路。在艺术内外边界渐趋模糊，媒介思维解锁更多艺术创造的语境下，如果将髹饰体系从漆艺中抽离出来进行新的演绎、打开边界，使漆文化更具温度和高度、深度参与社会进程并融于当下生活，那么漆艺的“重塑”才有可能。

本届三年展将延续往届以大漆为本体的学术坚持，进一步拓展国际交流平台、发掘优秀作品和新生力量，现面向国内外征集符合展览主题的漆艺作品，请有意者积极参与，相关细则敬请仔细阅读。

1、征集截止时间：2022年8月31日

2、请于湖北美术馆官网（www.hbmoa.com）下载《变·通——2023湖北国际漆艺三年展参选作品登记表》。

3、每位参选者可以提供1-3件（组）作品参评，作品应为2019年以来新作，不接受效果图、设计稿。

4、一经入选，作者不得擅自更换入选作品，更换作品需经主办方同意，主办方有权拒绝作者更换作品参展的要求；展览期间，作者不得以任何理由撤离作品中断展出。

5、入选作者需承担参展作品的包装，费用自理；主办方将承担参展作品的运输、保险费用，物流公司将携主办方委托函联系作者取件。

6、影像纪录类作品可以是个人传记题材或某一漆工艺现状纪实题材，时长45分钟以内；参选作品须取得作者授权同意参选本次展览，或为参选者个人、团队原创作品，拥有该作品完全著作权。

7、参选作品须为原创且具唯一性，如涉抄袭、盗用或复制等行为，参选者承担相应法律责任；主办方有权将入选作品用于非营利性宣传、展览、出版，不另付稿酬；入选作品材质须与参选登记表所提交信息一致，如有争议，主办方有权拒绝该作品参展。

1. 2022年8月31日，作品征集截止。

2. 2022年9月，作品评选。

3. 2022年10月，公布参展名单；寄送参展邀请函。

4. 2022年11月-12月，画册（中英文）编辑、排版。

5. 2023年1月-3月，画册进入出版社审校流程。

6. 2023年2月，国内外参展作品联系收件、运输。

7. 2023年3月，布展。

（请艺术家根据时间节点评估，确保按时提交资料及作品，逾期视为自动放弃出版、参展。）

1、《变·通——2023湖北国际漆艺三年展参选作品登记表》（官网下载）

2、创作类作品提供图片：作者工作照1张，每件作品可提供1-3幅图片，需达到印刷出版标准，JPG格式，质量大小为5M-10M。

3、影像纪录类作品提供视频：MP4格式，分辨率1920×1080P及以下，文件大小2G以内。

注：请参选者严格按照主办方要求提交电子资料，针对最终入选作品，此资料将被用于展览画册出版、宣传推广等，主办方不再另行收集资料。

上述资料请务必于2022年8月31日前提交至湖北美术馆征集邮箱，逾期无效。

征集邮箱：hb86797706@163.com

联系电话：0086-27-86796003 0086-27-86797706（策划部）      

湖北美术馆网址：www.hbmoa.com                   

湖北美术馆微信号：hbmoa86796067

湖北美术馆

2022年4月

1. Sponsor: Hubei Museum of Art (short for HBMOA)

2. Duration: March 17 to May 14, 2023 （undetermined）

3. Art Director: Ji Shaofeng

4. Academic Consultants (in alphabetical order): Fu Zhongwang, Nagatoshi Onishi, Pi Daojian, Qiao Shiguang, Sungsoo Kim, Tsong-zung Chang

5. Academic Chair: Hu Ying, Xia Zi

6. Administrative Director: Liu Liying

7. Curator: Zeng Jing

Exhibition Theme

Making traditional lacquer art with modern vigor has long been the academic viewpoint of Hubei International Triennial of Lacquer Art held by Hubei Museum of Art. The Hubei International Triennial of Lacquer Art has successfully run four times, with successive themes Material, Process & Spirit, Source & Flow, Cycle of Time,  and Vessel & Form. The previous sessions have created a prosperous situation for the future of the Hubei International Triennial of Lacquer Art both at home and abroad while also clarifying its academic orientation. Under the theme of Change & Connection, the fifth triennial will continue to explore innovative measures to promote the inheritance of lacquer art, concentrating on the creation and relevant issues with a broader cultural vision to achieve connectivity between lacquer art and the world.

The traditional Chinese character bian (變, change) consists of three semantic components, si (丝, musical instrument), yan (言, speech) , and pu (攴, hand). It originally referred to moving fingers between different strings when playing a stringed instrument, which ineffably means the player dexterously pulling the strings has insights into changes. Bian has various meanings, generally described as the act of replacement, alteration, transformation, adaptation, and modification in the Kangxi Dictionary. The direction of bian depends on the wisdom of thoughts. The original meaning of the character tong (通, connection) means the state of unimpeded and smooth, or without barriers, but it can also refer to the removal of obstacles and achieving interconnection. Gu Jiegang’s Debates on Ancient History offers a new method, which reveals that ancient history research and its key ideas should focus on changes rather than knowing the truth. Based on Gu’s theory, we can take a fresh look at the development of contemporary lacquer art. The thinking of whether it will change, or how it will change, recognizing it with adaptation and flexibility is the way to achieve connection.

The four units, Salute the Master, Design System of Lacquerware, Diverse Voices from Lacquer Art, and Beyond Boundary and Recreation, will be arranged in this new triennial. Each emphasizes craftsman’s spirit, design thinking, lacquer art philosophy, and breaking boundaries. By creating a multi-layered vision of research and a coherent channel within it, the lacquer art will achieve connections and open a new situation through transformation. Under the social background of the Union of Culture and Tourism, Innovation with Good Tradition, the transition of lacquer art from traditional crafts to contemporary art creation, design, and public culture will extend its connotation and renews its spirit. This way, the lacquer art will survive in a climate of openness and profundity.

Exhibition Structure

1. Salute the Master

In the modernization of traditional lacquer art, the spiritual lighthouses — predecessors’ technical experience, inspirations in creation, persistence in the true beauty of craftsmanship, and awe for lacquer itself,— have been illuminating us in the inheritance, innovation, and exploration of lacquer art. In this triennial, collecting film documentaries from outstanding senior artists and great masters aims to establish a lacquer art archive to pay respects to the craftsman's spirit through the display, spread, and exchange of lacquer art.

2. Design System of Lacquerware

This theme emphasizes the open and profound nature of design thinking behind lacquer art. The modern design system has shifted its focus from the relationship between people and objects to the relation between people themselves or the environment. Is there a way to transform the traditional materials and exquisite techniques into the beauty and nature of modern life? In addition to function and appearance, the design system should also focus on innovating tradition, inspiring the world and the future, realizing more added value of lacquer art, and weaving romantic modern Chinese Stories with traditional techniques.

3. Diverse Voices from Lacquer Art

While artists are actively trying to give fresh impetus to lacquer art and demonstrate its vitality through various art forms and diversified innovation in expressions and art language, they may also have to confront the doubt of whether they retain the root of lacquer art. In this unit, we aim to reveal the core of lacquer art to the public and demonstrate the art philosophy behind it, namely the relationship between people and nature, people and artifacts, and people and time and space of lacquer art history and lacquerware decoration techniques. We hope more works will concentrate on the beauty and diversity of the artistic language of lacquerware and that they can interact with the new era based on traditional Chinese wisdom.

4. Beyond Boundary and Recreation

The path of tong (通, connection) and bian (变, change) is necessary for innovating and reforming traditional art. The boundary of art is fading out in today's world, and various media have made artistic innovation more accessible. If the decoration system of lacquer art springs out from its original structure, opens the boundary, and interprets itself in a brand new way, the lacquer art will be embedded in social change and much closer to daily life. That is a way to make a recreation of lacquer art possible.

Requirements for Submission   

The Fifth Hubei International Triennial of Lacquer Art will inherit the previous academic focus on Chinese lacquer, strengthen international communication capacity and seek excellent works and the upcoming emerging force in lacquer art. We have now started to collect artworks that suit the theme, both at home and abroad. We look forward to your participation. For details, please refer to the following guidelines.

1. Deadline for submission: August 31, 2022

2. Please download the Participant Registration Form of World of Lacquer: Change & Connection—2023 Hubei International Triennial of Lacquer Art at www.hbmoa.com

3. Every artist can submit 1-3 works (sets) for selection. Works submitted must have been created in 2019 or later. Renderings and design drafts will not be accepted. 

4. Once selected, the works cannot be changed by the artists. The change of works needs to be agreed upon by the sponsor, HBMOA. The artists shall not remove their works during the exhibition for any reason.

5. The artists selected should bear the packaging fee of the works, while the sponsor will bear the transfer fees and insurance expenses. Logistics companies, with the entrustment letter from the sponsor, will contact the artists and pick up the works to be exhibited.

6. The content of the film documentary can be the artists' biography or records of one lacquer art technique. The film shall be no longer than 45 minutes. Selected works shall be authorized by the author or be from individuals or teams that have the complete copyright.

7. Selected works should be original. In case of any plagiarism, misappropriation, or reproduction, the artist shall bear the corresponding legal liability. HBMOA shall have the right to apply selected works to non-profit publicity, exhibition, or publication without additional payment. The material of selected works should be consistent with the information in the Participant Registration Form. If there is any dispute, HBMOA shall be entitled to refuse to exhibit the work.

Timeline

1. August 31, 2022, deadline for work collection.

2. September 2022, selection.

3. October 2022, public release of the list of the artists, sending invitation to the artists.

4. November–December 2022, 25compilation and design of exhibition catalog (Chinese and English versions).

5. January–March 2023, review process of exhibition catalog.

6. February 2023, pick-up and transportation of all selected works.

7. March 2023, installation of the exhibits.

(Please submit the files on time. Anyone who fails to submit relevant information and works before the deadline will be waived from participating in the exhibition and publication.)

1. Participant Registration Form of World of Lacquer: Change & Connection—2023 Hubei International Triennial of Lacquer Art (download at www.hbmoa.com)

2. Pictures: 1 work photo of the participant; 1-3 pictures of each work with high resolution that should meet the printing and publishing standards. Format: JPG, size: about 5 MB to 10 MB.

3. Film Documentary: Format: MP4, resolution: within 1920×1080, size: within 2 GB.

Note: Relevant electronic files submitted by artist should be strictly in line with the requirements of Hubei Museum of Art. Artists whose works are selected will have their submitted files published in the exhibition catalog and other publicity and promotion. HBMOA will use the information first submitted by the artists and not collect such information again.

Please submit the above files via email before August 31, 2022. Submissions after the deadline will not be reviewed.

E-mail: hb86797706@163.com

Telephone: 0086-27-86796003; 0086-027-86797706 (Planning Department)     

Hubei Museum of Art: www.hbmoa.com

WeChat Account: hbmoa86796067

Hubei Museum of Art

April 2022