
托尼·布朗:设计和艺术的相关性,在于积极整合当今的先进技术
设计宇宙内容中心 ,Release Time2024-10-22 11:33:54
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verse编辑部:首先,您可否分享一下您目前在中国的一些主要动态?包括正在进行中或将要开启的合作方面或者项目实践方面等。
verse editorial: Firstly, could you share some of your current major activities in China? This could include ongoing or upcoming collaborations or project practice.
托尼·布朗:作为一名艺术家和设计师,过去一年里我在国家级博物馆举办了多场重要展览,并刚刚完成了成都SKP艺术大家系列的大型装置作品。此前,我还曾为其北京的艺术大家系列做过装置艺术。
成都SKP“星团”艺术装置,展览时间:2024.08.30-2025.02.28
verse编辑部:您是法国国立巴黎高等美术学院终身教授、博士生导师,曾历任该院雕塑系主任以及博士培养项目“塞纳计划”主任。回顾您在这个世界四大美术学院之一的教学经历,您有哪些感受?
verse editorial: You are a tenured professor and PhD supervisor at the École Nationale Supérieure des Beaux-Arts in Paris, having served as the head of the Sculpture Department and the director of the doctoral training program "Seine Project." Reflecting on your teaching experience at one of the world's top four art academies, what are your impressions?
托尼·布朗:我仍然记得,作为一名年轻艺术家,第一次去巴黎时,我常经过法国国立巴黎高等美术学院(ENSBA),站在学校大门前却不敢进去,因为我太过紧张;当时我从未想过有一天我会住在巴黎,并且在这所享有盛誉的学院担任雕塑系主任,后来还管理博士后级别的项目。我感到非常幸运,能够与许多当时非常著名的艺术家教授合作。这种经历也发生在我首次与中央美术学院(CAFA)合作设立交流项目时,之后我继续与ENSBA和CAFA保持合作。那个时期我在巴黎的生活非常充实,也见证了中国的巨大发展。当时,这两所学校的许多学生都乐观十足,充满活力,勤奋并且才华横溢,许多人后来都成为了非常成功的艺术家和设计师。






verse编辑部:可否谈一谈法国国立巴黎高等美术学院最高文凭项目“塞纳计划”,它的选拔标准和发展计划分别是什么?是如何培养这些艺术家的?
verse editorial: Could you talk about the "Seine Project," the highest diploma program at the École Nationale Supérieure des Beaux-Arts in Paris? What are its selection criteria and development plans? How are these artists cultivated?
托尼·布朗:在我担任雕塑系主任期间,法国国立巴黎高等美术学院的校长邀请我负责博士后级别的项目。他希望我设计一个高水平、面向国际的基于实践的年轻艺术家项目。2002年,我为法国和国际的年轻艺术家创建了“塞纳计划”研究项目。该项目的主要目的是为学生提供在学术环境中发展艺术和研究的方法,帮助他们为当代和后当代艺术的职业需求做好准备。
Tony Brown: While I was the head of the sculpture department the President of the École Nationale Supérieure des Beaux-Arts asked me to take in charge the Post Diploma PhD level program. I was asked to design a new program that would be a high level international oriented practice-based program for young Artists. In 2002 I created The Research Program La Seine for young French and foreign artists. The primary aim of the Program was to provide students with the means to develop their artistic and research in an academic environment that prepared them for the demands of the professional context of contemporary and post contemporary art.
The Program was structured to facilitate the exchange of knowledge and skills relevant to both artistic thought and practice. The group dynamic and interactive nature of the Program encouraged the students to exchange their experiences in the studio as well as to develop their critical faculties collectively. Regular group meetings with established artists and professionals from the art world and a diverse set of academics coming from numerous disciplines were organized, presenting the students with a challenging and stimulating experience. In conjunction with this direction, each year a project with an international partner was made where the students from each partner schools worked together to make a joint exhibition in their respective countries.
verse编辑部:您现任中央美术学院担任客座教授和视觉艺术高精尖创新中心首席专家,以及西安欧亚学院艾德艺术设计学院院长和北师大未来设计学院学术委员会委员。作为活跃在中法两国的教育工作者,在您看来,中国的设计院校和法国的设计院校在教学系统上有哪些不同之处?培养出的艺术家/设计师有哪些差异?
verse editorial: You currently serve as a guest professor and chief expert at the Central Academy of Fine Arts' Advanced Innovation Center for Visual Arts, as well as the dean of the School of Art and Design at Xi'an Eurasia University and a member of the Academic Committee of the Future Design Institute at Beijing Normal University. As an educator active in both China and France, in your view, what are the differences between Chinese and French design schools in terms of their teaching systems? What are the differences in the artists/designers they cultivate?
托尼·布朗:1795年,皇家绘画与雕塑学院与1669年成立的音乐学院和1671年成立的建筑学院合并,成立了美术学院(Académie des Beaux-Arts ENSBA)。皇家绘画与雕塑学院与美术学院的关系本质上是连续和演变的。美术学院继承了皇家绘画与雕塑学院的遗产和职能。
我首次来到法国国立巴黎高等美术学院时,学院正经历重大改革,逐渐摆脱皇家学院的影响和遗产;最基本的变化是从临摹大师画作和雕塑的传统教学转向更具多样性和创造力的技法,而非仅限于技术技能。
中国的大多数艺术与设计院校都以法国体系为基础,今天仍然有很多学校沿袭皇家学院的传统模式,尽管在法国这已经经过改革,中国的一些前沿院校也在变革,但许多中国的美术学院依然受到皇家学院和1667年沙龙绘画的传统思维的影响。有趣的是,设计系没有受到这么多历史包袱的限制。
When I first came to the École Nationale Supérieure des Beaux-Arts was in the process of a major reform moving away from the influence and legacy of the Royal Académie; at the most basic level the orientation of copying from the paintings and sculptures of the great masters was being reformed to a more progressive position of embracing a diversity of techniques and creativity over technical skills.

verse编辑部:我们YoungBird旗下YoungBirdPlan嫩鸟计划针对青年学子推出的“WCM世界校园大师”项目持续了多年。2019年启动,由「WCM世界校园大师优秀课程作品展」和「WCM世界校园大师课程作品年度优选」两部分构成,以鼓励全球青年学子分享并参评在校期间设计作品为宗旨,展现不同地域与文化背景下的当代设计新兴力量,旨在推进校园设计原创思维与全球大设计产业的当下发展进行对话,将青年人才与世界最前沿和影响力企业、设计平台、产业链及设计生态圈相连接。这个项目广泛接触到全球设计学子和青年设计师,尤其是全球顶尖500家设计院校也是我们平台designverse设计宇宙的用户。从您执教的角度,以及您所在学院在招生方面的标准看,您对于年轻人的建议是什么?
verse editorial: The "World Campus Masters" project, launched by Young Bird Plan under YoungBird, has been ongoing for several years, targeting young students. Launched in 2019, this program is composed by two parts - "World Campus Masters Excellent Course Works Exhibition" and "World Campus Masters Annual Course Works Selection", and is committed to recognizing the fresh blood of contemporary design through evaluating course works and graduation designs from global young students and designers in different regions and cultures. It encourages original design thinking in campus to conduct a positive dialogue with the global design industry, bringing young talents to the world's influential design platform, enterprises and industry chain as well as the cutting-edge design ecosystem. This project has reached a wide audience of design students and young designers worldwide, especially those from the top 500 design schools globally, who are also users of our platform, designverse. From your perspective as an educator, and considering the admission standards of your institution, what advice would you give to young people?
托尼·布朗:努力工作,并牢记诺曼·文森特·皮尔所说的,“瞄准月亮,即使错过了,你也会落在星星之间。”

verse编辑部:在您持续数十年的学术生涯中,您遇到过哪些至今难忘的挑战?当时是如何克服的?这一经历给您后来的职业生涯带来了哪些影响?
verse editorial: Throughout your decades-long academic career, what unforgettable challenges have you encountered? How did you overcome them? What impact did this experience have on your subsequent career?
托尼·布朗:这是一个复杂的问题,我们所知的生活充满了各种阻碍,也许最重要的是拥有智慧,知道如何处理这些阻碍,将其转化为积极的动力,而非消极的负担,并继续前进。





verse编辑部:您也曾应邀在加拿大、美国、亚洲及欧洲众多顶尖的大学、艺术学院和机构演讲和授课,桃李满天下。在不同国家城市进行知识分享,您从中获得了哪些感悟?让您印象深刻的是哪一次演讲或授课?请谈一谈。
verse editorial: You have also been invited to lecture and teach at many top universities, art schools, and institutions in Canada, the United States, Asia, and Europe, mentoring numerous students. From sharing knowledge in different countries and cities, what insights have you gained? Is there a lecture or class that left a deep impression on you? Please elaborate.
托尼·布朗:可能最具挑战性的是在印度的工作,它让我质疑了很多我的价值观和判断方式,直到我意识到需要停止已有的滤镜来看待事物时,我才开始理解并看到文化形态在起的作用。

verse编辑部:作为上世纪80年代最早以尖端科技创作装置作品的艺术家之一,您的作品享誉世界,在诸多国际重要展览和各大艺博会均有展出,包括卡塞尔文献展、纽约军械库艺术博览会、巴黎国际当代艺术博览会、以及上海当代艺术博览会等,许多代表作被加拿大、美国、亚洲及欧洲等诸多国际知名的美术馆及私人收藏家展示并收藏。对于作品和个人备受业界认可,您当时的感受是什么?现在回望这些艺术创作的路程,时隔多年您有哪些新的感触?
verse editorial: As one of the earliest artists to create installation works using cutting-edge technology in the 1980s, your works are renowned worldwide and have been exhibited in many major international exhibitions and art fairs, including the Kassel Documenta, the Armory Show in New York, the FIAC in Paris, and the Shanghai Contemporary Art Fair. Many of your representative works are displayed and collected by internationally renowned museums and private collectors in Canada, the United States, Asia, and Europe. How did you feel about your works and yourself being highly recognized by the industry at that time? Looking back on your artistic journey after so many years, what new insights do you have?
托尼·布朗:当时我并没有认真地去思考,因为我正忙于其中,过着自己的生活并完成工作。但现在回望,它和我在ENSBA的经历一样,对于能够结识并与那些极具创造力且才华横溢的人合作,同时能为当代艺术与设计的发展做出贡献,我感到非常幸运。
verse编辑部:作为当代艺术家,近年来,您以数字媒体装置为创作媒介进行创作实践,并拓展至绘画、设计以及大型景观与建筑项目。您的创作背后是否有一以贯之的理念?可否介绍一下。
verse editorial: As a contemporary artist, in recent years, you have used digital media installations as a creative medium and expanded into painting, design, and large-scale landscape and architectural projects. Is there a consistent concept behind your creations? Could you please introduce it?
托尼·布朗:我非常喜欢马塞尔·杜尚的一句话:“艺术要么是抄袭,要么是革命。”我更喜欢后者。
verse编辑部:如果让您推荐两个艺术作品,您会推荐哪两个?请详细谈一谈。
verse editorial: If you were to recommend two artworks, which two would you recommend? Please narrate them in detail.
托尼·布朗:第一个想到的是我最喜欢的艺术家马塞尔·杜尚的作品《新娘甚至被光棍们剥光了衣服》(通常称为《大玻璃》)。像杜尚的所有作品一样,这是一件富有挑衅性的作品,创作于1915年至1923年。
另一个是法国艺术家爱德华·德加的画作《星星》。母亲曾在家里挂了一幅它的复制品,我小时候总是惊奇地看着它,试图理解它的含义以及它是如何创作的。后来,我在自己的两个装置艺术作品中均提及了这两件作品。




verse编辑部:科技求真,艺术求美。您如何看待科技和艺术之间的关系?在将技术融入艺术创作的实践中,有哪些需要遵循的策略或路径?
verse editorial: Technology seeks truth, while art pursues beauty. How do you perceive the relationship between technology and art? In the practice of integrating technology into artistic creation, what strategies or approaches should be followed?
托尼·布朗:直到20世纪,绘画与雕塑学院主导了艺术实践,并组织了官方艺术展览(称为沙龙),而设计被视为较低的艺术形式。今天,情况已不再如此,设计在社会中占据了主导地位,并通过积极整合先进技术来保持其相关性。
















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