BENTU 项目 | 失体 — 中国潮洲日用废瓷再生实验

《失体—WRECK》

中国潮州日用废瓷再生实验 

Concept Exhibition of Wasted Daily-use Ceramics from Chaozhou, China

失体，有失体统，文化崩坏。从2018年开始本土创造团队深入中国潮州日用陶瓷行业，尝试以实验家具与装置展览的形式，真实地呈现在这负载巨大产能与商业价值的古城背后，我们所看见的崩裂、 破碎的文化体统，并尝试重 塑其“体”。

WRECK, the destruction of decorum, the ruin of culture. BENTU went deep into daily-use ceramics industry in Chaozhou, China, and tried to reveal the disintegration of culture behind this ancient city with huge industrial capacity and commercial value by exhibiting experimental furniture and installation, trying to reshape both the material and decorum.

在探索是否有更多可能性的路上，我们继续前行。本着对世界的好奇和“万物平等”的物质关怀，我们想像能 否把这种再生可持续材料带回日常，创造一种新的应用、新的审美、新的视觉艺术形式？ “面对未知，时刻好奇”。

We keep on moving along the way to explore whether there are more possibilities. In the spirit of curiosity about the world and material concern for “universal equality”, can we imagine bringing this renewable and sustainable material back to daily life, creating a new application, a new aesthetic, a new form of visual art? “In the face of the unknown, always curious.”

广东潮州

中国瓷都（广东潮州），世界 70% 日用陶瓷的母体，也是全球最大的日用瓷生产基地。全球化浪潮席卷下，陶瓷产业将潮州与世界前所未有地紧密联结。当势不可挡的现代化进程打破传统社会秩序，过往格序工整的潮州古城连同以血缘为社会秩序的乡土文化，快速地消亡。

Chaozhou Guangdong

Chaozhou supplies 70% of the total daily-use ceramic commodity for the world, becoming the world's largest daily-use ceramics production base. Under the sweeping wave of globalization, ceramic industry connects Chaozhou with the world in an unprecedentedly close way. When the unstoppable process of modernization breaks down the traditional

social order, the neat and orderly-planed old towns rapidly disappear, as well as the traditional rural culture that rooted in consanguinity. 

急剧发展为这片土地带来的，远不止如此。全球化的刺激下，传统的陶瓷产业畸形膨胀。一方面，需求刺激出庞大的产量，陶瓷企业雨后春笋般出现，占用大量本地劳动人口的同时， 也吸引了大量外来农村人口流入打工。内部社会关系的重组，同时也掀起了年轻一代的个体意识觉醒。捆绑在这庞大的产业链当中的无数个体，在产业洪流中有怎样的挣扎和渴望？过去与现在，本土与外来，这片土地上共处的人们，又该如何在流动变化的新时代，找到自我存在的价值？

The rapid development has brought here more than that. Under the stimulation of globalization, the traditional ceramic industry is abnormally expanding. On the one hand, as demand stimulates enormous production, ceramic enterprises are springing up, occupying a large number of local workers and attracting a large number of migrant rural people to come and work. The reorganization of internal social relation also awakens the individual consciousness of younger generation. For those countless individuals bonded in this huge industrial chain, how is struggle or desire like in such flood? Between past and present, the native and the migrant, how will people live on this land find the value of self-existence in the new era with fluid changes?

另一方面，地区范围小与家族主义下的保守趋同，使陶瓷企业不断重复废品率高的传统生产模式。而经济全球化下制造业向劳动成本更低的地区迁移，潮州成为大量西方企业的陶瓷代工点，这更加剧了废品量的上升。仅一个潮安废瓷加工厂每年回收废瓷就有1000 多吨，这只是潮州陶瓷行业的一个截面。讽刺的是，2018 年 1 月，中国政府关于‘不再接收塑料、废纸、废弃炉渣、废弃纺织品、废弃矿渣等 24 种进口固体废弃物’的禁令正式生效。世界上 一半的“洋垃圾”将要另谋出路。然而，在现实世界的角落里，中国垃圾，洋垃圾，正以各种废品形式，继续倾倒在这片狭小的土地上。

On the other hand, the ceramic enterprises keep repeating the traditional production mode with high waste rate, as the familism in this small region has resulted in conservative convergence. Along with the economic globalization, manufacturing industry moves to the area with lower labor cost, so Chaozhou becomes the OEM (Original Equipment Manufacturer) for numerous western enterprises, which exacerbates the increase of waste products counts. A recycling plant in Chao’an, a small in Chaozhou, recovers 1000 tons of waste ceramics per year. This is not only a cross section of ceramics industry in Chaozhou, but also the aftereffect of uneven global economic development. It is ironic that, the ban issued by the Chinese government, about no longer receiving 24 types of imported solid waste such as plastics, waste paper, waste slag, waste textiles, abandoned slag, etc, officially took effect from January 2018. As a result, half of the world's “foreign garbage” needs another way out. However, in reality, garbage from home and abroad is still being dumped on this land in various forms of waste.

潮洲古城

格序工整的潮州古城连同以血缘为社会秩序的乡土文化，在全球化浪潮席卷下快速地消亡，伴随着格局打破、人口涌入、城市野蛮生长。

Chaozhou Ancient City

Under the sweeping wave of globalization, the neat and orderly-planed old towns rapidly disappear, as well as the traditional rural culture that rooted in consanguinity. accompanied by the breaking of patterns, the influx of population and the mild growth of city.

潮州陶瓷产业

潮州日用瓷产业，是由家族为纽带的各类家庭小作坊和管理完善适合大生产的企业构成，而小体量的家庭作坊式工厂往往缺乏完整的生产体系，技术含量低，污染防治水平低，从而导致产能过剩废品率上升等问题，回收系统的不成熟，废弃的陶瓷往往被倾倒于荒野影响自然生态。

Chaozhou daily-use ceramics industry

Chaozhou daily-use ceramics industry is composed of various small family workshops taking the family as the tie and enterprises under perfect management suitable for large-scale production, but small-scale family workshops often lack a complete production system, low in technical content, pollution prevention and control level, resulting in problems such as rise of overcapacity waste rate and immaturity of recovery system. Wasted ceramics are usually dumped in the wilderness so as to affect the natural ecology.

陶瓷产业的急剧发展伴随着陶瓷废品量增加，而作为世界 70% 日用陶瓷的母体，全球最大的日用瓷生产基地，其背后所产生废弃陶瓷的数量难以想象！

Chaozhou supplies 70% of the total daily-use ceramic commodity for the world, becoming

the world's largest daily-use ceramics production base, it is hard to imagine the number of wasted ceramics behind the production!

废瓷粉碎厂

一个潮安废瓷回收加工厂每年回收废瓷就有 1000 多吨，这不仅是潮州陶瓷行业的一个截面，更是全球经济发展不平均的后遗症。这是中国的垃圾，更是世界的垃圾。

Waste porcelain crushing plant

A recycling plant in Chao’an recovers 1000 tons of waste ceramics per year. This is not only a cross section of ceramics industry in Chaozhou, but also the aftereffect of uneven global economic development. These is the garbage of China as well as the world.

实验装置

Experimental Device

我们尝试用艺术装置及实验家具的形式，向社会传递巨大产业背后体统的破碎崩离，揭示社会所面临的社会问题与环境问题，不可降解的废弃日用瓷被丢弃被埋藏，并从材料学的角度出发，尝试废弃日用瓷与混凝土的结合可能性。

In the form of art installation and experimental furniture, we try to convey to the society the fragmentation and disintegration behind the huge industry, reveal the social and environmental problems facing the society, i.e. the non-biodegradable wasted daily-use ceramics is discarded and buried, and explore the possibility of the combination of wasted daily-use ceramics and concrete from the point of view of material science.

展览

Exhibition

深圳设计周 X 失体

Shenzhen Design Week X WRECK

作为实验的重要一环，本土创造还与中国政府主办的深圳设计周合作策办“失体”日用废瓷概念展。该展览于 2018 年 4 月 20 日在中国深圳完成，现场展出由潮州日用瓷废渣堆叠成的 7 米艺术装置及实验家具，辅以音像与简介，向观众直观展现出全球最大的日用瓷生产基地——中国潮州的行业剖面，及其巨大产能与商业价值背后崩裂、破碎的文化体统。

As an important part of the experiment, BENTU teamed up with Shenzhen Design Week, the exhibition activity supported by Shenzhen Municipal People's Government, and curated the “WRECK -- Concept Exhibition of Wasted Daily-use Ceramics from Chaozhou, China”, which ended on April 20 in Shenzhen. The exhibition site consisted of the experimental furniture and a 7-meter-long artistic installation stacked with ceramic waste collected from Chaozhou daily-use ceramic factories. With video and intro, he audiences were exposed to direct view of world’s largest ceramic industry base as well as the wrecked culture and decorum behind tremendous capacity and commercial value.

以概念展览的形式面向来自各行各业的社会公众传播、互动，是实验的果，也会是社会秩序重塑的因。在展览过程中，质疑、鼓励、惊奇、建议……我们拾起的碎片，被观众又一次打破，更零碎，更尖锐。无论是精英、学生还是外行的百姓，在触摸碎片、甚至调整展品的微小动作中，触动与反思以更细碎的形态通过观众流动，我们相信这些碎片最终在社会大众当中汇聚成有力的洪流，真切影响到社会现实。

Communication and interaction with the public come from various walks of life through the concept exhibition was a pleasing result of our experiment, and hopefully a foreseeable start of restoring social order. Including social elite, school students even common people, the public with their surprise, question, advise and encouragement was the one who broke down the already fragile fact then turned it into sharper point of view. The moment people touched the ceramic pieces or slightly adjusted the exhibits, thoughts and emotions provoked were flowing in a much finer form among them, and we believe that these tiny thoughts and emotions will eventually converge and be powerful enough to affect the social reality.

“失体”实验中，我们有另一个方向的尝试：改变陶瓷骨料的利用方式，提高废瓷的利用率和生产速度，探讨兼具艺术性与实用性的拼装式家具发展可能。作为设计者的我们，是否可以在这失衡的现实中，重塑其“体”？

In the Wreck Experiment, we managed to carry out a different attempt: change the way of placing porcelain aggregate so as to improve the utilization of porcelain wastes and production speed and develop the possibility of assembled furniture with both artistics and practicable features. As designers, can we reshape both the material and decorum in this unbalanced reality?

破碎的日用瓷与混凝土混合凝结，经切割打磨而成，以装置家具为载体，在基础形态中探讨恰当的比例，以简单的平板结构拼接，探讨废弃日用瓷以简单的构造形式再次回到大众生活日常回到生活根本。

Broken daily-use ceramics and concrete are mixed and congeal, and formed after cutting and grinding, with the fixture and furniture as the carrier. We explore the appropriate proportion of ceramics in the basic form and splice them with a simple flat plate structure, and discuss how to make the wasted daily-use ceramics return to people’s daily life and the principle of life in a simple structural form。

2015年起，政府陆续从财政、税收、人才、土地等多个方面给予展览业鼓励和扶持。展览活动因此趋向平民化、公益化、多元化，传播力度与覆盖人群也越大越广。

Since 2015, the government has encouraged and supported the exhibition industry in the areas of finance, taxation, talent and land successively. As a result, exhibition activities tend to be popular, public welfare based and pluralistic, with high propagation and more people covered.

从精英高知到普通群众，从单一行业到各行各业，从无知好奇到思考传播，我们将其中的每一环都视作一块文化的碎片。

From the elite and senior intellectuals to the general public, from the single industry to all walks of life, and from ignorance and curiosity to the spread of thought, we regard every link as a piece of cultural fragment.

本土创造希望实现自上而下的认知普及、从内到外的经验传递、由浅入深的价值渗透。只有放大化每块“碎片”的锐感，其“体”才能真正重塑。

Bentu hope that we can realize cognition popularization from top to bottom, experience transmission from inside to outside, value penetration from the easy to the difficult. Only by magnifying the sharpness of each piece of “fragment” can the “decorum” be truly reshaped.

中国深圳

《失体—WRECK》中国潮州日用废瓷概念展

2018年4月20-30日

深圳当代艺术与城市规划馆四楼

中国香港

『另辟物径』永续设计联展

2020年1月17-2月16日

K11 Atelier King's Road2 楼 HACC

中国沈阳

『另辟物径』永续设计巡展

2020年7月18-11月08日

沈阳 K11 四楼艺术空间

好奇 · 聆听 · 践行

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