© 泡泡艺廊

功能性与艺术性的家具与丰富多彩的图像语言相遇，会在艺术场域中营造出何种引人入胜的氛围？
What kind of captivating atmosphere does the encounter between functional and artistic furniture and rich and colorful visual language create in the art field?

深圳市当代艺术和城市规划馆启幕开展

Shenzhen Museum of Contemporary Art and
Urban Planning opens for exhibition

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近日，在深圳市当代艺术和城市规划馆，艺术家蔡赟骅（JACKY TSAI）的首次展览“万象与留白”盛大开幕。深圳泡泡艺廊应邀与艺术家合作，共同打造了展览中的艺术长凳系列。在这个特殊时刻，让我们坐下来，与异开设计和深圳泡泡艺廊的创始人毛桦、艺术家蔡赟骅JACKY TSAI一同探讨设计与艺术的观念，聆听他们合作的独特心得与奇思妙想。
Recently, at the Shenzhen Museum of Contemporary Art and Urban Planning, artist JACKY TSAI's first exhibition "Wanxiang and Blank Space" was grandly opened. Shenzhen Bubble Art Gallery was invited to collaborate with artists to jointly create the art bench series in the exhibition. At this special moment, let's sit down and discuss the concepts of design and art with Mao Hua, founder of Yikai Design and Shenzhen Bubble Art Gallery, and artist Cai Yunhua JACKY TSAI, listening to their unique experiences and creative ideas in collaboration.

© 泡泡艺廊

01 把可以用的艺术品带回家
九把长凳的起源，实际上是一种必然的偶然。一位在室内设计领域从业超过20年的资深设计师，与一个探索东方传统文化与西方波普流行文化融合的个性艺术家，毛桦和蔡赟骅是伦敦艺术大学的同窗。二人的结缘并不复杂，正如蔡赟骅所言，“我们都对家具设计有着特殊的情感”。
01 Bring home usable artworks
The origin of the Nine Benches is actually an inevitable coincidence. A senior designer with over 20 years of experience in the field of interior design, Mao Hua and Cai Yunhua are classmates of the University of the Arts London, who explore the fusion of Eastern traditional culture and Western pop culture. The bond between the two is not complicated, as Cai Yunhua said, 'We both have a special emotional attachment to furniture design'.

© 泡泡艺廊

“一开始我们计划在伦敦一起开一家咖啡厅，虽然还没有实现，但我们决定先在深圳做一把长凳。” 这看似美妙而意外的起因，背后其实蕴含着彼此的共识：创造一件兼具功能性和艺术性的家具。
At first, we planned to open a coffee shop together in London. Although it hasn't been realized yet, we decided to first make a bench in Shenzhen. This seemingly wonderful and unexpected reason actually contains a mutual consensus: to create a piece of furniture that combines functionality and artistry.

© 泡泡艺廊

“Jacky是一个思维开阔、不拘泥于传统的‘接地气’艺术家。在他看来，设计和艺术并不是完全不同的领域。这与我的观念非常契合，我们都倾向于在这种边界上游走。”
——毛桦
正如艺术与设计之间模糊的界线，当艺术家涉足设计领域，设计师开始进行艺术性的探索时，观者与艺术品、家具之间的边界关系也能以新的形式进一步消解、再次连接。
Jacky is a 'down-to-earth' artist with a broad mind and no adherence to tradition. In his view, design and art are not completely different fields. This aligns perfectly with my perspective, as we all tend to navigate these boundaries
——Mao Hua
Just like the blurred boundary between art and design, when artists enter the field of design and designers begin to explore artistically, the boundary relationship between viewers, artworks, and furniture can also be further dissolved and reconnected in new forms.

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通体暗黑的色泽，隐藏着密集的纹理，流露出深邃的力量，其中蕴含着哲学思考与隐喻。在国内，大多数人将家具视为功能性产品，认为“价格越高品质越好”，很少将其与艺术品联系在一起。但也有少数人开始关注艺术家具这一领域。从早期对名贵古董家具的收藏，到如今对VINTAGE等非量产家具的讨论，人们的视野逐渐拓展。我认为，还存在一个介于艺术品和量产家具之间的领域，即艺术家创作的具有功能性的非量产家具。然而，相较于国外对艺术家具的广泛认知，国内似乎还存在着一个待填补的空白。
The dark color of the whole body hides dense textures, revealing profound power, which contains philosophical thinking and metaphors. In China, most people consider furniture as a functional product, believing that "the higher the price, the better", and rarely associate it with art. But there are also a few people who have started to pay attention to the field of art furniture. From the early collection of precious antique furniture to the current discussion of non mass-produced furniture such as VINTAGE, people's horizons have gradually expanded. I think there is still a field between art and mass-produced furniture, which is the functional non mass-produced furniture created by artists. However, compared to the widespread recognition of art furniture abroad, there seems to be a gap that needs to be filled in China.

© 泡泡艺廊

在几乎所有展览中，艺术品通常是供远观而不可触摸的，但并非所有的艺术品都如此。艺术长凳的出现，不仅填补了这一空白，更以一种自然而然的互动方式融入了展览，并成为艺术品的一部分。观者可以通过身体感知艺术长凳的精湛工艺。面对艺术家具的未来，蔡赟骅提出了“希望人们可以把这些可以用的艺术品带回家”的期望。
In almost all exhibitions, artworks are usually viewed from a distance and not touched, but not all artworks are like this. The emergence of art benches not only fills this gap, but also integrates into exhibitions in a natural interactive way and becomes a part of artworks. Viewers can perceive the exquisite craftsmanship of the art bench through their bodies. Facing the future of art furniture, Cai Yunhua has put forward the expectation of "hoping that people can bring these usable artworks home".

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从展览现场来看，那些配以绚丽图案的艺术长凳并没有“喧宾夺主”，它们的外形设计简约、不张扬。然而，尽管外观朴素，却蕴含着中国传统文化和西方波普文化在当代艺术语境下的重生。
From the exhibition site, it can be seen that the art benches adorned with dazzling patterns are not overwhelming, as their exterior design is simple and understated. However, despite its simple appearance, it embodies the rebirth of traditional Chinese culture and Western pop culture in the context of contemporary art.

©深圳当代艺术与城市规划馆

在蔡赟骅看来，上世纪六七十年代的波普艺术具有一种轻松、幽默和反讽的氛围。因此，他所呈现的作品内核也反映了自己对中西方文化的当代性思考，融合了丰富的中国传统文学、神话和艺术元素，以及非遗手工材质与技艺。
In Cai Yunhua's view, Pop Art in the 1960s and 1970s had a relaxed, humorous, and ironic atmosphere. Therefore, the core of his works also reflects his contemporary thinking on Chinese and Western cultures, integrating rich elements of traditional Chinese literature, mythology, and art, as well as intangible cultural heritage handmade materials and techniques.

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绚丽的色彩如水流般涌动，仅此一处，却仿佛能想象到无边无际的视觉幻景。毛桦和蔡赟骅都对“中西合璧”这一命题心领神会。“提及文化，往往给人一种沉重的感觉。在挖掘艺术家具的文化内涵时，我们希望以一种轻松的方式进行，试图将西方的幽默感融入东方文化，并进行重新诠释。”
The brilliant colors surge like water, but in this place alone, it seems like an endless visual illusion can be imagined. Mao Hua and Cai Yunhua both have a deep understanding of the proposition of "combining Chinese and Western cultures". When it comes to culture, it often gives people a heavy feeling. When exploring the cultural connotations of artistic furniture, we hope to do so in a relaxed way, attempting to integrate Western humor into Eastern culture and reinterpret it

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从建筑角度来看，中国古建筑常常使用木材，而在遥远的西方古希腊文明，人们更倾向于使用石头建造房屋。艺术长凳系列之一的《开石》通过染色木皮拼花的设计，与艺术家的波普图像语言相契合，将石与木的材质结合，再运用贝壳镶嵌的工艺，呈现了以艺术家形象为灵感的“蔡将军”。
From an architectural perspective, ancient Chinese architecture often used wood, while in the distant Western Greek civilization, people tended to use stone to build houses. One of the art bench series, 'Kaishi', combines the materials of stone and wood with the artist's pop image language through the design of dyed wood veneer mosaic, and then uses the technique of shell inlay to present the 'General Cai' inspired by the artist's image.

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木与石的结合，东方与西方的融合，“开”“石”合成“研”，象征着匠人对于钻研与探索的情怀。
The combination of wood and stone, the fusion of East and West, the combination of "opening" and "stone" into "research", symbolizes the craftsman's passion for research and exploration.

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在传统木材的基础上，匠人们打开了一扇向西方文明探索的大门，演绎了一个由东向西开凿、探索石材的故事。这个故事创造了一个富有趣味和诙谐、生动而绚烂的形象，展现了匠人们对西方文明的探索与创新。
On the basis of traditional wood, craftsmen opened a door to explore Western civilization, interpreting a story of excavating and exploring stone from east to west. This story creates a humorous and vivid image, showcasing the craftsmen's exploration and innovation of Western civilization.

©深圳当代艺术与城市规划馆

回到展览的主题，“万象与留白”，毛桦对此有着自己独特的理解。“万象”包含了艺术家在题材内容上的多样性、表达形式上的广泛性以及图像视觉上的丰富多彩。“留白”则是留给观众的空间，用于对作品、艺术家以及整个展览的思考和互动，以期获得反馈与共鸣。
Returning to the theme of the exhibition, 'Wanxiang and Blank Space', Mao Hua has her own unique understanding of it. 'Wanxiang' encompasses the diversity of artists in terms of subject matter, expression forms, and visual richness of images. 'Blank space' is the space left for the audience to contemplate and interact with the artwork, artist, and the entire exhibition, in order to receive feedback and resonance.

©深圳当代艺术与城市规划馆

在西方人眼中，板凳上的传统符号可能是一种纹身或者图腾。Jacky将中国传统青花瓷元素进行了演绎和整理，仔细观察可以发现其中隐藏着一些小小的幽默和故事。这就是留白所带来的感觉。
In the eyes of Westerners, the traditional symbol on the bench may be a tattoo or totem. Jacky has interpreted and organized traditional Chinese blue and white porcelain elements, and upon closer observation, one can discover some subtle humor and stories hidden within. This is the feeling brought by leaving blank space.

©深圳当代艺术与城市规划馆

©泡泡艺廊

千人千面，万人万相。不同的人、不同的背景、不同的身份去解读一件作品，会产生不同的内容。
Thousands of people, thousands of faces, thousands of people, thousands of appearances. Interpreting a work from different people, backgrounds, and identities can produce different content.

©泡泡艺廊

对传统花纹图腾的再创作，就像是对文化的致敬，让古老的艺术再次焕发生机，绽放出新的生命。
The re creation of traditional patterned totems is like a tribute to culture, bringing ancient art back to life and blooming with new vitality.

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02 一个没有风格的时代
作为艺术之家的出身，毛桦从不将自己局限于传统意义上的设计师角色。对她而言，艺术与设计是没有明确界限的，她乐于在这些边界之间自由跳跃，这种跳跃是由她的生长环境和个性所决定的。
02 An Era Without Style
As a family of artists, Mao Hua never limits herself to the traditional role of a designer. For her, there is no clear boundary between art and design, and she enjoys jumping freely between these boundaries, which is determined by her upbringing and personality.

“没有什么内容会永远成为主流。如今，我们生活在一个没有明确风格的时代。” 在设计越来越多的家居空间时，毛桦希望能够找到与每位居住者气质相契合的家具，而不是千篇一律的风格化、毫无个性的同质化，以此来使室内软装与自己设计的空间高度协调。
Nothing will always become mainstream. Nowadays, we live in an era without a clear style. When designing more and more home spaces, Mao Hua hopes to find furniture that matches the temperament of each resident, rather than a uniform style and homogeneity without personality, in order to make the interior soft furnishings highly coordinated with her designed space.

© 朱迪

因此，泡泡艺廊的创立理所当然。作为珠三角地区以国际现代设计为焦点的设计艺廊，泡泡艺廊不局限于简单地照搬国外艺廊的运营模式，而是在借鉴中探索艺廊的本土化路径，引入了世界各地极具创意的设计品牌和国际炙手可热的设计产品。
Therefore, the establishment of Bubble Art Gallery is natural. As a design art gallery in the Pearl River Delta region that focuses on international modern design, Bubble Art Gallery is not limited to simply copying the operating models of foreign art galleries, but explores the localization path of art galleries through reference, introducing highly creative design brands from around the world and internationally popular design products.

© 朱迪

“如今的家居市场正在经历品牌同质化的时代，大家越来越倾向于只认可某些知名品牌，豪宅必备大牌，仿佛陷入了一个怪圈。品牌化和基础化的家具产品如瀑布般源源不断地涌现。”
The current home furnishing market is experiencing an era of brand homogenization, and people are increasingly inclined to only recognize certain well-known brands, which are essential for luxury homes, as if trapped in a vicious cycle. Branded and basic furniture products are constantly emerging like a waterfall

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在毛桦看来，泡泡艺廊应该是一个先锋的、引领性的地方，能够让国内市场和消费者感受到前瞻性、个性化的内容，而不是只倾向于提供安全感和追求快速商业变现的产品。因此，毛桦决定让泡泡艺廊走艺术化的道路。以“万象与留白”展览中的艺术长凳系列为契机，开始对兼具功能性的艺术家具进行当代化的探索。
In Mao Hua's view, Bubble Art Gallery should be a pioneering and leading place that can provide forward-looking and personalized content to the domestic market and consumers, rather than just focusing on providing a sense of security and pursuing fast commercial monetization products. Therefore, Mao Hua decided to let Bubble Art Gallery take the path of artistic expression. Taking the art bench series in the "Wanxiang and Blank Space" exhibition as an opportunity, we began to explore the modernization of functional art furniture.

©泡泡艺廊

毛桦认为，艺术家具未来拥有收藏价值是必然的发展趋势。相较于更看重升值空间、材质贵重和工艺繁琐程度的老一代收藏家，年轻一代正在成为时代的主力军，也是市场的主要消费群体。他们更加开放、更加自信，对于艺术和设计的理解也更加广泛和多样化，因此对于具有独特创意和个性化的艺术家具产生的兴趣和需求也在逐渐增加。
Mao Hua believes that it is an inevitable trend for art furniture to have collectible value in the future. Compared to the older generation of collectors who value appreciation space, valuable materials, and intricate craftsmanship, the younger generation is becoming the main force of the times and the main consumer group in the market. They are more open, confident, and have a broader and more diverse understanding of art and design, so their interest and demand for art furniture with unique creativity and personalization are gradually increasing.

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“人的审美意识，从懵懂、觉醒到提升是需要一个过程的。总会有一部分人先觉醒，去寻找不同的内容。普罗大众也会想有自己的收藏，但空间的限制导致他们无法实现大尺度的收藏。那么一件兼具艺术性、收藏性、功能性的家具放置在家居空间里，是否可以让人居环境抛却随大流的风格化，走向更有品位、个性化的体现？”对此，毛桦始终保持着自省审视的态度看待问题。
It takes a process for people's aesthetic consciousness to go from ignorance and awakening to improvement. There will always be a group of people who awaken first and search for different content. The general public also wants to have their own collections, but space limitations prevent them from achieving large-scale collections. So, can a piece of furniture that combines artistic, collectible, and functional qualities be placed in a home space to make the living environment abandon the trend of stylization and move towards a more tasteful and personalized expression? "Mao Hua always maintains a self reflective and scrutinizing attitude towards this issue.

©泡泡艺廊

“疫情之后，家居产品行业的进步有些缓慢，这在很大程度上受到了经济形势的影响。然而，现在放慢脚步也并非全然坏事。在机会相对有限的时候，我们可以更加专注地耕耘自己的领域，认真地做好自己的事情。”如今，当代人正在重新审视人居空间对于自身的重要性。而艺术家具，不仅是设计与艺术的结合，更是伴随着人们对生活的思考，涵盖着大众对美好生活的期待。它使艺术与设计自然地融入日常生活场景，让每个人的家变得既宜居又宜赏。显而易见，这已经是当下的未来趋势。
After the epidemic, the progress of the home products industry has been somewhat slow, which is largely influenced by the economic situation. However, slowing down now is not entirely a bad thing. In times of relatively limited opportunities, we can focus more on cultivating our own fields and do our own things seriously. Nowadays, contemporary people are re examining the importance of living space to themselves. Art furniture is not only a combination of design and art, but also accompanies people's thinking about life, covering the public's expectations for a better life. It naturally integrates art and design into daily life scenes, making everyone's home both livable and aesthetically pleasing. It is obvious that this is already the current trend for the future.

项目信息--

展览主题：万象与留白

展览地点：深圳市当代艺术与城市规划馆

展览时间：2023.11.7-2024.1.1

展览总策划与执行：金晶

拍摄：文涛、深圳市当代艺术与城市规划馆、Yushi Li

图片版权：除标注外均属于泡泡艺廊