星图与航线 | “景德镇大奖”跨界实验奖获奖作品介绍

星图与航线

陶溪川国际手工艺术美术馆开馆展

暨世界手工艺术“星图计划”启航展

Star Atlas & Voyage Routes Opening Exhibition of Taoxichuan International Craft Art Museum& Launch Exhibition of the World Craft Art Star Atlas Project

展期 | Duration

2025年10月17日——2026年4月16日

October 17, 2025-April 16, 2026

地点 | Venue

陶溪川国际手工艺术美术馆

Taoxichuan International Craft Art Museum

展览前言

Exhibition Foreword

“星图与航线 | Star Atlas & Voyage Routes”是由陶溪川文创街区与中国美术学院共建的“陶溪川国际手工艺术美术馆”（Taoxichuan International Craft Art Museum）的开馆首展，也是未来数年将持续发生的“世界手工艺术星图计划”（World Craft Art Star Atlas Project）的启航展。

展览汇聚了来自首届“景德镇大奖”（Jingdezhen Prize）入围艺术家的数十件/组精彩手工艺术作品，该奖项由世界手工艺理事会（WCC）、国际陶艺学会（IAC）与景德镇创意设计中心联合发起，共征集了来自全球六大洲55个国家及地区的投稿作品1325件，由19位专家学者组成甄选委员会，通过匿名评审遴选出41位入围者。

在这幅手工艺术的星图上，景德镇是一颗由泥与火锻造的恒星——它从上古冶陶的光焰中亮起，穿梭白瓷、影青瓷、青花瓷的流光，抵达古典器物美学的巅峰，也成为了全球手工艺术的灵感汇聚点。作为“世界手工艺术星图计划”的启航之站，本次展览从景德镇·陶溪川的土地上出发，尝试描绘星图上遥相呼应的光点，共同勾勒出人类手艺的轮廓——这便是“星图与航线 | Star Atlas & Voyage Routes”所期待探访的时空图景。

景德镇大奖:跨界实验奖

获奖作品

“Jingdezhen Prize” Shortlisted Works

Recipients of the Cross - border Experimentation Award

跨界实验奖以跨学科融合、壁垒突破等为核心导向，聚焦突破陶瓷工艺传统边界的创作。面向全球艺术家、设计师等及跨学科团队，要求作品以陶瓷为核心进行跨界创新。评选侧重跨界突破性与陶瓷独特美学特质的统一。

作品：《言外之物》

Things beyond Words

作者: 刘叶宁

材质：陶瓷，电机

刘叶宁，2003年生于山东，本科毕业于中央美术学院视觉传达专业，现于中央美术学院视觉传达专业攻读研究生学位。其作品曾入选国家大剧院优秀动画展览、文字诗学展览，2025年获景德镇大奖跨界实验奖。作为一名关注物质、声音与语言交叉地带的视觉艺术家，她以材料研究为方法，擅长将日常器物从固有使用场景中抽离并置于陌生化艺术语境，通过陶瓷、影像、表演等跨媒介实践，解构重组平凡事物的象征意义与感知维度，构建兼具视觉张力与思想深度的哲思现场，长期致力于突破视觉传达领域的既定符号系统，探索非线性、多维度的叙事可能，推动传统视觉设计与当代艺术理念的跨界融合。

Liu Yening, born in Shandong in 2003, graduated with a bachelor's degree in Visual Communication from the Central Academy of Fine Arts. She is currently pursuing a graduate degree in Visual Communication at the Central Academy of Fine Arts. His works have been selected for the National Centre for the Performing Arts Excellent Animation Exhibition and the Literary Poetry Exhibition, and won the Jingdezhen Grand Prize Cross border Experimental Award in 2025. As a visual artist who focuses on the intersection of matter, sound, and language, she uses material research as a method to extract everyday objects from their inherent usage scenarios and place them in unfamiliar artistic contexts. Through cross media practices such as ceramics, images, and performances, she deconstructs and reorganizes the symbolic meaning and perceptual dimensions of ordinary things, constructs a philosophical scene that combines visual tension and ideological depth, and is committed to breaking through the established symbol system in the field of visual communication, exploring non-linear and multi-dimensional narrative possibilities, and promoting the cross-border integration of traditional visual design and contemporary art concepts.

我的作品起始于一个问题：如果不依赖语言，我们如何表达自己?如果我们放弃说话，是否还能被理解？我将这个问题转化为一场关于声音、语言与物质性的非语言叙事实验，也像是一个孩子刚刚开始认识世界的方式，当我们还不会说话，就已经在用身体、声音、物品传达情绪与意图。我选择了陶瓷作为核心材料，进行了一场关于声音、语言、物质性的实验。我制作了26件独特的陶瓷物品，构成了一套“非语言字母表”。每个物品被赋予了一种独特的声音、一种可能的行为（比如滚动、碰撞、摩擦），或者一种触感或视觉引发的隐喻联想。此时的字母不再代表语言符号，而是化作声音与感知之间的一种“发生”。观众可以通过图像、声音和互动去“猜测”这些物品背后的意义，从而参与到一场关于语言的游戏中。

我之所以选择陶瓷材料，是因为陶瓷提供了独一无二的实验场域。它的可塑性让我能精准复制日常物品的形态，但其烧制后的坚硬、易碎、共鸣等物理特性又彻底颠覆了原物品的声音和触感。它和日常物品之间有一种奇妙的声音错位：原本柔软的刷子、轻盈的气泡膜、在变成陶瓷后发出不属于它们的声音。陶瓷让物品失声也让他们重新发声，这是对日常语言的结构，也是一种在材料层面的重新书写。陶瓷的“窑变”不只是釉色的变化，更是声音和意义的“窑变”。我利用多种特性的泥料进行实验，通过控制泥料的厚薄、表面的肌理处理（光滑、粗糙、开片）、甚至尝试在坯体中加入少量如细沙、小颗粒等其他材料来微妙地影响最终烧成后物品发出的声音品质。 作品由三部分构成：第一部分是一段声音影像，通过表演探索物品如何在非语言状态进行沟通叙事；第二部分是通过书籍记录物品创作的全过程；第三部分是互动装置，我用电机让静止的陶瓷物动起来，模糊语言、物件与行为之间的界限。

《言外之物》不是为了讲清楚什么，而是邀请你靠近、去聆听陶瓷的“新语言”，去感受物质本身所携带的表达潜力，并在互动中共同探索沟通的另一种可能——在“言外”之处。对我而言，视觉传达的边界由此拓宽，它不仅是图像的转换，更是在那些“难以言说”的领域里，寻找新的连接方式。

My work begins with a question: How can we express ourselves without relying on language? If we give up speaking, can we still be understood? I have transformed this question into a nonverbal narrative experiment about sound, language, and materiality, similar to a child's way of understanding the world. Even before we can speak, we are already using our bodies, sounds, and objects to convey emotions and intentions. I chose ceramics as the core material and conducted an experiment on sound, language, and materiality. I have created 26 unique ceramic items, forming a set of 'non-verbal alphabet'. Each item is endowed with a unique sound, a possible behavior (such as rolling, colliding, rubbing), or a tactile or visually evoked metaphorical association. At this point, the letters no longer represent linguistic symbols, but rather transform into a 'happening' between sound and perception. Viewers can "guess" the meaning behind these items through images, sounds, and interactions, thus participating in a game about language.

I chose ceramic materials because they provide a unique experimental field. Its plasticity allows me to accurately replicate the form of everyday objects, but its physical properties such as hardness, fragility, and resonance after firing completely subvert the sound and touch of the original objects. There is a wonderful sound mismatch between it and everyday objects: the originally soft brush, the light bubble film, and the sound that does not belong to them after turning into ceramics. Ceramics make objects lose their sound and also allow them to regain their voice, which is the structure of everyday language and a rewriting at the material level. The "kiln transformation" of ceramics is not only a change in glaze color, but also a "kiln transformation" of sound and meaning. I conducted experiments using various characteristics of clay materials, by controlling the thickness of the clay material, surface texture treatment (smooth, rough, open), and even trying to add small amounts of other materials such as fine sand, small particles, etc. to the body to subtly affect the sound quality of the final fired object.

The work consists of three parts: the first part is a sound and image that explores how objects communicate and narrate in a non-verbal state through performance; The second part is to record the entire process of item creation through books; The third part is an interactive device, where I use a motor to make a stationary ceramic object move, blurring the boundaries between language, objects, and behavior.

The Book of Things Beyond Words is not meant to clarify anything, but to invite you to approach and listen to the "new language" of ceramics, to feel the expressive potential carried by the material itself, and to explore another possibility of communication through interaction - in the realm of "beyond words". For me, the boundaries of visual communication are widened as a result. It is not only about transforming images, but also about finding new ways of connection in those "unspeakable" fields.

作品：《遗留之物》

WHAT REMAINS

作者: Verónica Moar

材质：海藻酸钠薄膜，瓷粒，釉料与金饰，部分釉面瓷板及金饰，实验室玻璃搅拌棒

我是维罗妮卡·莫阿尔，我是一名陶艺家。我进入陶艺界是偶然的，但经过十年的旅行，陶艺不仅成为我的热情，也成为了一个专业且至关重要的项目。以精炼的技法、手工制作、对工艺的尊重和对材料的精心选择为出发点，我的作品也以其诗意和叙事的细腻之处为特征。另一方面，它不断追寻本质，试图避免一切不必要的或多余的东西。在表面简单的线条背后，总有一个故事。我对材料的无限可能性以及它与语言和思想的关系充满热情。因此，我的提议聚焦于记忆、亲历经历的记忆、从现在解读并通过像泥土这样有机的东西实现的过去回声。我的作品中既有明显的功能性作品，也有带有明确艺术意图的其他提案。这反映了对我来说，艺术与日常之间的界限。

I am Veronica Moal, and I am a ceramic artist. I entered the world of pottery by chance, but after ten years of travel, pottery has not only become my passion, but also a professional and crucial project. Starting from refined techniques, handmade production, respect for craftsmanship, and careful selection of materials, my works are also characterized by their poetic and narrative delicacy. On the other hand, it constantly pursues its essence, trying to avoid everything unnecessary or redundant. Behind the simple lines on the surface, there is always a story. I am passionate about the infinite possibilities of materials and their relationship with language and thought. Therefore, my proposal focuses on memory, memories of firsthand experiences, and past echoes interpreted from the present and realized through organic things like soil. There are both obvious functional works and other proposals with clear artistic intentions in my works. This reflects the boundary between art and daily life for me.

西班牙语单词“película”意为“薄层”，其词源源自拉丁语“pellicula”，意指“薄皮”。因此，光线、无形或非物质的概念贯穿于这片悬浮的海藻酸盐细薄膜中，试图为覆盖任何陶瓷器物的表面层赋予诗意的意义。

本作品部分创作于拉科鲁尼亚大学化学与生物学交叉研究中心。材料选择非同寻常：瓷器、釉料与金饰与一种海洋衍生的生物高分子及实验室用的玻璃搅拌棒在同一层面上对话。经过两个月密集的反复试验，我成功将极细的瓷粒结合于一层极薄的海藻酸钠膜上，该薄膜模拟了陶瓷中透明釉层的质感。

一方面，瓷粒源自一件使用性器物，其在烧制过程中曾发生裂纹；另一方面，这些生物高分子材料取自海藻，具备可持续性与生物降解性，是传统塑料等材料的可再生替代品，且可通过改性提升性能，满足多种应用需求。它们可广泛应用于食品包装、医药和生物燃料生产，因有望减少塑料废弃物和环境负担而备受关注。而本作品则将其用于艺术创作。

The Spanish word 'pel í cula' means' thin layer ', which originates from the Latin word' pellicula 'meaning' thin skin '. Therefore, the concepts of light, intangibility, or non materiality run through this suspended thin film of alginate, attempting to give poetic meaning to the surface layer covering any ceramic object.

This work was partially created at the Center for Interdisciplinary Studies in Chemistry and Biology at the University of La Coru ñ a. The material selection is extraordinary: porcelain, glaze, and gold jewelry are in dialogue with a marine derived biopolymer and laboratory glass stirrer on the same level. After two months of intensive repeated experiments, I successfully combined extremely fine ceramic particles onto a very thin layer of sodium alginate film, which simulates the texture of the transparent glaze layer in ceramics.

On the one hand, porcelain particles originate from a utilitarian object that once cracked during the firing process; On the other hand, these biopolymer materials are derived from seaweed and possess sustainability and biodegradability, making them renewable alternatives to traditional plastics and other materials. They can also be modified to enhance performance and meet various application needs. They can be widely used in food packaging, pharmaceuticals, and biofuel production, and have attracted attention for their potential to reduce plastic waste and environmental burden. And this work will be used for artistic creation.

关于展览

Regarding the Exhibition

手工艺术，可回向今日我们所谈论之“艺术”的源初母体——获得直立行走能力，从而被解放了双手的人类，开始蹒跚懵懂地用手与身外的世界周遭打起了各种交道：抟土为器或造像，结绳为网或记事，刳木为舟、剡木为矢，聚石成塔、冶石成金……人类的文明、信仰、知识，就这么点点滴滴地建立了起来；而伴随着生活的器具所建立的，正是生活本身。

这是技/艺（techne, τέχνη）未分之时。日积月累，在地球之上的栖居和纷扰中，由手工而生的器具，见证了“满天星斗”式的文明萌生；又在漫长的岁月流转中，伴随着人类的迁徙、生产、交易，形成了一条条流动的手工艺术的航线，最终化身为我们在当代的手工艺术世界中，得以管窥、展望的一幅浩瀚星图。

现场同时展出“世界手工艺术星图计划”中的“亚洲工艺思想”特别单元，由来自中国美术学院的研究者、艺术家师生共同完成，并以此作为序章，联通向毗邻而即将开馆的“陶溪川国际手工艺术图书馆”（Taoxichuan International Craft Art Library），这一世界上最大规模的手工艺术主题图书馆，它的首批15000册藏书将在不久之后向所有到访者开放，各条人类历史上的手工艺术“航线”也将呈现于其中——“航线”与“星图”彼此牵引，成就一艘手与心的航船，让我们共同登上它的思想之甲板，借由手艺之罗盘，眺望、探索、共同制作未来的文化星图。