| Lu Pinchang
Born in Shangrao, Jiangxi Province, CHINA
Professor and Dean of the Sculpture Department, the Central Academy of Fine Arts,
Head of the ceramic studio, the Central Academy of Fine Arts,
Secretary-general of the Ceramic Arts Committee, China Artists Association,
Secretary-general of China Sculpture Society,
Secretary-general of China City-Sculpture Construction and Instruction Committee
EXPERIENCE
1995 – Present: professor of the sculpture department of the Central Academy of Fine Arts, the head of the Ceramic Studio, the Central Academy of Fine Arts,
1994-1995: associate professor, the Arts and Crafts Department, Beijing Fashion Academy
1992- : associate professor, the Fine Arts Department, Jingdezhen Ceramics Institute
1985-1988: MFA, Jingdezhen Ceramics Institute
1982-1983: advanced training in the Sculpture Department of China Fine Arts Academy
1978-1982: BFA, the Fine Arts Department, Jingdezhen Ceramics Institute
SOLO EXHIBITIONS
May, 2001: Lu Pinchang Sculpture, Hong Kong Culture Office, Hong Kong
August, 1995: Lu Pinchang Ceramics and
Sculpture, China International Exhibition Center, Beijing,
China
October, 1994: Lu Pinchang Ceramic Sculpture,
China National Art Gallery, Beijing, China
EXHIBITIONS
November, 2003: China Xiamen Ocean & Music: International Sculpture Invitational Exhibition,
(Xiamen Government, Xiamen, China)
September, 2003: Western Wind: China Sculpture Great Exhibition (Beijing, China)
September, 2003: China Beijing International Fine Arts Biennial: China Sculpture Classic Exhibition
(Beijing, China)
July, 2003: Open Times: Art Exhibition in Commemoration of the 40th Anniversary of China
Art Gallery (Beijing Art Gallery, Beijing, China)
May, 2003: Extension & Breakthrough: China Modern Ceramics Estate Exhibition (Guangdong,
China)
October, 2002: China Contemporary Ceramic Arts Great Exhibition (Foshan, China)
August, 2002: 2002 Korea International Wood Fire Art Exhibition (Pyongtaek, Korea)
June, 2002: America Archie Bray Foundation for the Ceramic Arts Annual Commemorative
Exhibition （ Montana, USA ）
May, 2002: The Third China Contemporary Young Ceramic Artists Biennial (Hangzhou, China)
February, 2002: America West Virginia University Invitational Exhibition of Chinese
Contemporary Young Ceramic Artists (Morgantown, USA)
October, 2001: the Chinese Mythology –
Joint Exhibition of Twenty Contemporary Artists’ Works
(Shanghai, China)
October, 2001: Sharing and Coexistence
– China Contemporary Sculpture Exhibition (Beijing,
China)
September, 2001:Dreaming of Home - China
Contemporary Sculpture Exhibition (Shanxi, China)
August, 2001: China Changchun International
Sculpture Exhibition (Jilin, China)
May, 2001: China Contemporary Sculpture
& Ceramics Exhibition (Hong Kong Book Center, Hong
Kong)
October, 2000: China Contemporary Arts
& Crafts Masterpieces Exhibition (Jiangsu Museum,
Nanjing, China)
July, 2000: Art Exhibition in Commemoration
of the 55th Anniversary of the Victory of the Chinese
People’s War of Resistance Against Japan (Beijing, China)
May, 2000: China Contemporary Sculpture
Exhibition (Shanghai Art Gallery, Shanghai, China)
May, 2000: China Contemporary Young Ceramic
Artists Biennial (Zhejiang Art Museum, Hangzhou, China)
January, 1999: An Art Journey at the Turn
of the Century (New Time-Space Gallery, Beijing, China)
December, 1998: Out of Clay: Invitational
Exhibition of China’s Contemporary Young Ceramic Artists
(Guangdong Art Museum, Guangzhou, China)
December, 1998: Sculpture & Reality
– Joint Sculpture Exhibition of the Teachers of the
Sculpture Department (the Central Academy of Fine Arts,
Beijing, China)
1998: A Country of Ceramics: China Contemporary
Ceramics, traveling exhibition (London, Britain and
Madrid, Spain)
1997: China Contemporary Arts Exhibitions:
the Sculpture Exhibition (China National Art Gallery,
Beijing, China)
December, 1996: Reality, Today and Tomorrow:
’96 China Contemporary Arts Exhibition (the International
Arts Garden, Beijing, China)
August 1996: ’96 International Ceramics
Invitational Exhibition, Korea (Korea)
July, 1996: ’96 Nanshan Sculpture Invitational
Exhibition (Nanshan Sculpture Academy, Shenzhen, China)
June, 1996: Senses of Clay: Invitational
Exhibition of China’s Contemporary Young Ceramic Artists
(Guangdong Art Museum, Guangzhou, China)
May, 1996: the Fourth Artistic Documents
Exhibition: Sculpture and Contemporary Cultures (Chengdu,
China)
Aug. 1995: Lu Pinchang Ceramics &
Sculpture Exhibition (China International Exhibition
Center, Beijing, China)
Oct. 1994: Lu Pinchang Ceramic Sculpture
Exhibition (China National Art Gallery, Beijing, China)
May, 1993: the Third National Sport Arts
Exhibition of China (China National Art Gallery, Beijing,
China)
LITERATURES
June, 2002: Compile the “World Relief Arts”, Jiang Xi Fine Arts Publishing House
February, 2000: “Florilegium of Lu Pinchang”, Guang Xi Fine Arts Publishing House
April, 1999: Compile the “China Contemporary Ceramic Arts”, Ji Lin Fine Arts Publishing House
December, 1998: Compile the “Western Modern Sculpture”, Jiang Xi Fine Arts Publishing House
AWARDS
2004: Works of Excellence, the Third Excellent Harvest Exhibition of China City-Sculpture
September, 2004: Nominating award, 2004 the First Fine Arts Literature Nominating Exhibition
September, 2003: Works of Excellence in Science, China Beijing International Fine Arts Biennial: The Arts Exhibition of the Teachers from the Ten Institutes of Fine Arts in China
July, 2000: Gold Award, Art Exhibition
in Commemoration of the 55th Anniversary of the Victory
of the Chinese People’s War of Resistance Against Japan
March, 2000: Silver Award, China Contemporary
Ceramics Invitational Exhibition
December, 1999: Works of Excellence, the
Ninth National Prize-winning Fine Art Works Exhibition
of China
December, 1999: Silver Award, China Arts
Exhibition: Art Exhibition in Celebration of the Return
of Macao
September, 1993: the National Best Teacher
Medal,
August, 1993: the special government allowance
provided by the State Council of China
May, 1993: Gold Award, the Third National
Sport Arts Exhibition of China
OTHERS
2004: the Documentary “Lu Pinchang and the course of the Contemporary Ceramic Arts of China” was shoot and played by “The Star Sky of Fine Arts” column group, CCTV
2004: the Documentary “The Artist Lu Pinchang” was shoot and played by CCTV-4
2004: a visit to Hong Kong at the invitation of Hong Kong Baptist University for an artistic lecture
2003: juror of the Second Ceramic Arts and Design Exhibition of China organized by China Artists Association
2003: juror of the China Beijing International Fine Arts Biennial: China Sculpture Classic Exhibition organized by China Artists Association
October, 2002: juror of the China Ceramic Arts Exhibition organized by China Ceramics Association
September, 2002: juror of the Second Ceramic Arts Exhibition of North China
August, 2002: a visit to Korea at the invitation of Pyongtaek Government for International academic proseminar
May, 2002: a visit to Hangzhou at the invitation of Zhe Jiang University for proseminar of the construction of art subject of the national famous universities, and gave a lecture of the educational status of the International Contemporary Ceramic Arts
From February, 2002 to March, 2002: a visit to USA at the invitations of many American universities and Foundations for Art, gave lectures and teaching demonstration in 15 universities
September, 2001: juror of the First Ceramic Arts and Design Exhibition of China organized by China Artists Association
September, 2001: juror of the First Ceramic
Art and Design Exhibition of China organized by China
Artists Association
September, 2001: juror of the North China
Contemporary Ceramics Exhibition
May, 2001: juror of 2001 China Yixing
International Ceramics Exhibition
March, 2001: a visit to Australia at the
invitation of Sydney Art College, Australia for an artistic
exchange
2001: a member of China Sculptor Delegation
visiting France, Italy and Russia
1998: Juror of the Sixth National Ceramic
Art Exhibition of China (Shanghai, China)
1998: publication of “the Western Contemporary
Sculpture” and “the Contemporary Ceramics of China”
1997: curator of “A Country of Ceramics:
China Contemporary Ceramics” (traveling exhibitions
in London, Britain and Madrid, Spain) hosted by the
Ministry of Culture of the People’s Republic of China
1996: ’96 International Ceramics Invitational
Exhibition and symposium, Korea (Chonbuk, Korea)
1989: member of China Ceramic Artists
Delegation attending the symposium of the Second Mino
International Ceramics Exhibition (Japan)
艺术思想
Artist Statement
我的意识中：民族文化传统和艺术精神是影响审美创造活动的一种不该忽视又不心虚夸的积极性因素，在沉静中, 潜心品度本土文化的文脉传统优势必给艺术创作带来活泼生机。整个的90年代我持续着《中国写意》、《阿福》和《历史景观》几个系列的创作。就形式意趣民族化的探索而言，《阿福》是我取向民间艺术的触角。我希望利用泥料的柔软性、延展性和可塑性，最大程度地强化民间雕塑式的扩张感和饱满感，合乎“物理逻辑”地开发陶艺语言的表现潜能。《历史景观》系列的发展，可能更多地偏重抽象表现语言形式的探索。在形体形态处理上，我注意内外空间的穿插流动，留给观众以想象空间，在表面肌理效果的把握上，我尽最大可能地保持或流露泥痕火迹，以一种富有沧桑感、深邃感的抽象空间形式，表达我在现代文明条件下对中国文化的那种既神往又困惑；既温馨又苦涩；既亲近又幽远的复杂情感体验。未来我会继续展开以形式因素的意蕴化和形式意趣的民族化为目标的纯化语言的探索。
In my opinion, the cultural traditions of the nations and the spirit of arts are none other than the positive factors which influence the aesthetic activities so that such factors should be neither ignored, nor purposely exaggerated. In a silent meditation, devotion of our minds to the historical advantages of the local traditions and cultures will surely inject liveliness and vitality into the art and the creativeness in art. In the period of 1990s, I finished such series as Ah Fu, Impressions of China and Historical Landscape. For my explorations into the art forms full of national significance, I have enjoyed great benefit from the folk art and I hope to take good advantage of the softness, extensibility and plasticity of the clay in order to enhance the sense of expansion and fullness in the folk sculpture to their possible limit while “logically” tapping the expressive potentials of the ceramic art language. In the course of Historical Landscape series, more emphasis have possibly been placed on an exploration into the art language forms of abstract expressions. In dealing with the form and structure, I have give much attention to the flowing interaction between the inner and outer spaces in order to leave viewers a space for their imagination. As for the textures and surface effects, I have tried my best to retain and present the marks of clay and fire to express my complicated feelings and experiences in an abstract form of space full of great vicissitudes and profundity. In the contemporary civilized society, I have cherished such complicated feelings towards the Chinese culture, being yearning, but perplexed, sweet and bitter, intimate and remote. In the future, I will continue to explore the purified language combining the implications of formal factors and nationalization of formal meanings.
在持续深化、纯化陶艺语言的现代转型的同时，如何在更大范围和空间中扩展陶瓷的表现性是与当下社会、文化发生关系，成为我当下关注的另一个重要方向。90年代末以来创作了《混沌的失却》《太空计划》《太空几何》等直面当下的作品，更多的从作品的空间角度、从雕塑造型的角度，关注当下的生存环境和人的生存状态，发挥陶瓷作为材料媒介介入当代艺术创作的表现优势，从而真正进入当代文化的主题创作。我注意到了不同材质的品格和恰如其分的使用使作品具有一种视觉上的冲击力和外张力，不同材质的表面肌理的呈现也凸现出思想的深化作用。当然如何去取得思想与行为、观念与形式的一致性，这需要我们对不同材料的语言作进一步实验和调整，我对此充满信心，因为一切存在着太大的令人探讨的可能和空间以及诱惑力。
While continuing our intensification and purification of ceramic art language in the period of contemporary transition, another important trend has already aroused my attention: how to enhance the expressiveness of the ceramics in a larger scope and space and its relationship with the contemporary society and cultures. Since 1990s, I have produced such series as “Loss of Chaos”, “Space Plan”, “Space Geometry” and others, which deal directly with the current problems. What is more, I have paid close attention to the current living environment and the existence of human being from the point of space and sculptural forms and taken full advantage of expressiveness in the contemporary ceramics as a media in the realm of contemporary art. Consequently, we may really enter into the thematic creation of the contemporary culture. I have noticed that different characters of materials and appropriate application will present the pieces a visual shock and extending force and different textures and surface effects will also play an important role in deepening of cognition and perception. It is no doubt that we need to further our experiment and adjustment in treatment of different languages of materials in order to realize the coherence of ideas and actions and perceptions and forms. I have had full confidence in it because there exists a great possibility and space for us to explore. Of course, it is full of temptations.
|
Curriculum
Vitae
top