1. Sponsor: Hubei Museum of Art (short for HBMOA)2. Duration: March 17 to May 14, 2023 （undetermined）3. Art Director: Ji Shaofeng4. Academic Consultants (in alphabetical order): Fu Zhongwang, Nagatoshi Onishi, Pi Daojian, Qiao Shiguang, Sungsoo Kim, Tsong-zung Chang5. Academic Chair: Hu Ying, Xia Zi6. Administrative Director: Liu Liying7. Curator: Zeng Jing
Exhibiton 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 MasterIn 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 LacquerwareThis 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 ArtWhile 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 RecreationThe 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.)
Required Materials
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: [email protected]Telephone: 0086-27-86796003; 0086-27-86797706 (Planning Department) Hubei Museum of Art: www.hbmoa.comWeChat Account: hbmoa86796067 Hubei Museum of ArtApril 2022
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