陈君
湖北美术学院教授、硕士生导师、手工艺术学院副院长、景德镇创作中心主任
中国美术家协会陶瓷艺术委员会委员
国际陶艺学会（IAC）会员
采访手记：
陈君的思考，始终绕不开两个关键词：“现场”与“生态”。
景德镇的双年展之所以难以被复制，正因为其根植于一个延续千年的、活生生的陶瓷“大现场”。这里不仅是展览的背景板，更是创作、生产、教育、思考无时无刻不在发生的土壤。这种深厚的“在地性”，赋予了双年展一种独特的底气和温度——艺术讨论不是悬浮的，而是从泥土中生长出来的。
谈及未来，陈君对2026年“双线联动”的期待，也聚焦于“生态”的构建。他期望看到的，不仅是作品的辉煌展示，更是由展览、会议、教育、产业共同编织的、可持续的对话网络与循环系统。这或许正是中国当代陶艺走向成熟所必须构建的“看不见的层面”。
它是艺术与科学在时代认知中不断交融的动态过程，本就无可设限。
Q：于伶娜
A：陈君
Q：作为陶大校友，你如何看待“景德镇+陶大”举办双年展的优势与独特性？
A：从陶大校友的视角来看，景德镇+陶大的组合是一种在全球范围内极具辨识度的文化现象。景德镇不仅是一个地理概念，更是一条延续千年的陶瓷知识链条——从原料、工艺、分工体系到审美传统；而陶大则是这一知识体系在现代教育与学术层面的系统化承载者。
这种城市-大学-产业-文化高度耦合的关系在全球陶艺版图中并不多见。它使双年展不仅是作品的展示平台，更是一个真实嵌入陶瓷生产现场、教育体系与历史语境之中的学术事件。这种从材料源头到思想流动的完整生态，是景德镇双年展最难以复刻的独特优势。
Q：景德镇国际陶艺双年展，不仅是陶瓷艺术的展示场，更像一面多棱镜。它折射出全球化背景下，不同文明对“器物精神”与“当代性”这一看似矛盾命题的独特解读与融合尝试，从这一角度，谈谈你们对景德镇双年展的观察与评价。
A：在全球化背景下，当代陶艺始终面临一个关键命题：一方面是器物精神所承载的历史性、身体性与功能传统，另一方面是当代艺术所强调的观念性、批判性与跨媒介表达。
景德镇双年展的价值恰恰在于它没有试图消解这一矛盾，而是让来自不同文化背景的艺术家在同一材料语境中呈现各自对“当代性”的解读。有的艺术家从工艺中推进观念，有的以装置和空间重构器物意义，有的则通过社会议题探讨陶瓷的公共属性。这种并行状态使双年展成为观察全球陶艺思想流动的重要窗口。
Q：2026景德镇国际陶艺双年展将以“瓷的未来”为主题，与第52届IAC国际陶艺大会同期启幕，成为全球陶艺界的年度盛事。你认为这场“双线联动”的盛会，将为全球陶艺界构建怎样的对话新场域？
A：此次双年展与第52届IAC国际陶艺大会的“双线联动”将使景德镇成为一个高度密集且活跃的全球陶艺思想交流地。双年展偏向作品与实践，大会则聚焦理论、方法与国际网络。当二者在同一时间、同一城市展开，艺术家、学者、教育者与策展人将在一个共享语境中反复对话。这种场域将有助于打破展览、会议、教育之间的壁垒，使陶艺的未来不只是被展示出来，而是被共同讨论、协商与塑造。
Q：相较于意大利法恩扎、日本美浓等成熟双年展，年轻的景德镇双年展在全球陶艺话语体系中，应如何锚定自身的差异化定位与核心竞争力？
A：与法恩扎、美浓等成熟的双年展相比，景德镇双年展的年轻恰恰意味着开放性与可塑性。景德镇的不同之处在于它不仅是展览的发生地，更是创作和生产持续进行的现场。我认为景德镇双年展可以更多强调这种“正在发生”的状态，使其成为一个兼具研究性、实验性和开放性的双年展，而不是简单对标已有模式。
Q：如何看待双年展在艺术家成长路径中的角色？怎样平衡“学术权威性”与“青年包容性”才能更好地成为培育陶艺新生力量的国际平台？
A：双年展在艺术家成长中既是一个门槛，也是一个通道。学术权威性为展览提供判断标准与专业深度，而青年包容性则决定了它是否具有未来。我认为关键在于评审机制是否能够识别“未完成但有潜力”的创作。真正成熟的国际平台，应既能肯定高度完成度的作品，也能为处于探索阶段的年轻艺术家保留空间。这种机制本身就是一种对未来负责的学术态度。
Q：有观点认为，高质量的国际陶艺展是“无声的课堂”，推动陶艺教育从工作室、教室走向更开放的公共空间。结合你在湖北美术学院的教学实践，你认为双年展应如何与院校陶艺教育形成协同？在课程设置、创作指导等方面，可怎样借助双年展的资源，培养学生的国际视野与创新能力？
A：我非常认同这个观点。自2008年湖北美术学院陶艺专业正式成立以来，我们就在持续实践这一理念。在日常教学之外，学院长期不间断的举办不同维度的专业性国际展览、学术竞赛与论坛，并通过邀请国内外重要陶艺家、教授来校教学、讲座、驻场创作与学术交流，努力为学生构建一个开放、多元、具有国际维度的学习平台。
在我看来，专业展览与院校教育形成协同的关键并不在于学生是否直接参展或观展，而在于是否能够将这些经验转化为一种方法意识和问题意识。双年展恰恰为学生提供了一个清晰而具体的国际参照系，使他们意识到当代陶艺所关注的已不仅是技术完成度或形式创新本身，而是材料观念、空间关系与文化立场之间的复杂联结。如果这种来自双年展的经验能够引导学生在更大的语境中思考自身实践，那么双年展就不再只是一个阶段性的活动，而会成为推动陶艺教育不断更新的重要动力。
Q：双年展中涌现的综合材料装置、数字技术与陶艺结合等新形态，正不断拓展陶艺的边界。这对当代陶艺教育提出了哪些新挑战？我们应如何在坚守陶瓷材料本质与工艺传承的基础上，融入跨媒介创作理念，培养适应时代发展的陶艺人才？
A：我认为陶艺教育首先应帮助学生建立对陶瓷材料与工艺逻辑的深度理解，这是不可替代的基础。在此之上，引入跨媒介方法与当代艺术思维，使学生能够将陶瓷视为一种开放的语言，而非封闭的技术体系，在跨界创作中仍保持材料意识。
Q：双年展这样的高峰事件，你认为中国当代陶艺生态建设，还需要在哪些“看不见的层面”构建可持续的循环网络？
A：双年展是高峰事件，但生态建设更依赖长期机制。独立而专业的陶艺批评体系、与当代艺术接轨的收藏与机构支持、与科技、人文、社会学等领域的跨学科合作以及产业反哺创作与研究的良性循环。这些背后的机制决定了双年展的成果能否真正沉淀为文化积累。
Q：你对2026年双年展+陶艺大会有何期待？
A：我希望通过2026年双年展+陶艺大会这场国际盛会让世界看到中国陶艺的当代面貌，也能让中国陶艺更清晰地理解自身在全球体系中的位置。
Q：最后，想请你为全球参展的青年陶艺家说几句寄语，谈谈你对他们在创作道路上的期许与建议。
A：我希望青年陶艺家们都能够与材料建立长期、真诚的关系，在不断变化的世界语境中，保持对自身文化经验的理解和自信。当你在泥土中找到属于自己的语言时，它自然会与你的时代发生连接。
2026 “瓷的未来”景德镇国际陶艺双年展
报名截止时间：2025年12月31日
报名入口：
http://www.cjicb.com/News20251211.html
英文版
Exclusive Interview｜Chen Jun: Safeguarding Craft and Breaking Boundaries
Interview Notes：
Two keywords recur throughout Chen Jun’s thinking:“the site” and “ecology.”
The Jingdezhen Biennale is difficult to replicate precisely because it is rooted in a living, thousand-year-old ceramic “mega-site.” It is not merely the backdrop of an exhibition, but fertile ground where creation, production, education, and reflection are constantly unfolding. This deep sense of place gives the Biennale a unique confidence and warmth—artistic discourse here is not suspended in abstraction, but grows directly from the soil.
Looking ahead, Chen Jun’s expectations for the 2026 “dual-track linkage” also focus on building anecology. What he hopes to see is not only the brilliance of displayed works, but a sustainable network and cyclical system of dialogue woven together by exhibitions, conferences, education, and industry. This may well be the “invisible layer” that contemporary Chinese ceramic art must construct on its path toward maturity.
Chen Jun
Professor, Hubei Institute of Fine Arts
Master’s Supervisor
Associate Dean, School of Handicraft Art
Director, Jingdezhen Creation Center
Member, Ceramic Art Committee, China Artists Association
Member, International Academy of Ceramics（IAC）
Q：Yu Lingna
A：Chen Jun
Q：As an alumnus of Jingdezhen Ceramic University, how do you view the advantages and uniqueness of the “Jingdezhen + JCU” model in hosting the Biennale?
A：From the perspective of a JCU alumnus, the combination of Jingdezhen and the University represents a highly recognizable cultural phenomenon on a global scale. Jingdezhen is not merely a geographical concept; it is a ceramic knowledge chain that has continued for over a thousand years—from raw materials and techniques to systems of labor division and aesthetic traditions. Jingdezhen Ceramic University is the modern educational and academic bearer that systematizes and transmits this body of knowledge.
This high degree of coupling among city, university, industry, and culture is rare in the global ceramic landscape. It allows the Biennale to function not just as a platform for displaying works, but as an academic event genuinely embedded in ceramic production sites, educational systems, and historical contexts. This complete ecology—from material origins to the circulation of ideas—is the most irreplicable advantage of the Jingdezhen Biennale.
Q：The Jingdezhen International Ceramic Art Biennale is not only an exhibition venue, but also resembles a multifaceted prism. It reflects how different civilizations, in a globalized context, interpret and attempt to reconcile the seemingly contradictory concepts of “the spirit of the vessel” and “contemporaneity.” From this perspective, how do you evaluate the Biennale?
A：In a globalized context, contemporary ceramic art constantly faces a key dilemma: on one hand, the spirit of the vessel carries history, corporeality, and functional traditions; on the other, contemporary art emphasizes conceptuality, criticality, and cross-media expression.
The value of the Jingdezhen Biennale lies precisely in the fact that it does not attempt to resolve or erase this contradiction. Instead, it allows artists from different cultural backgrounds to present their own interpretations of “contemporaneity” within a shared material context. Some advance concepts through craftsmanship, some reconstruct the meaning of objects through installation and spatial strategies, and others explore ceramics’ public attributes through social issues. This parallel coexistence makes the Biennale an important window for observing the global circulation of ceramic ideas.
Q：The 2026 Jingdezhen International Ceramic Art Biennale will take “The Future of Ceramics” as its theme and open concurrently with the 52nd IAC International Ceramic Congress, becoming a major global event. What kind of new dialogic space do you think this “dual-track linkage” will create for the international ceramic community?
A：The dual linkage of the Biennale and the 52nd IAC International Ceramic Congress will turn Jingdezhen into a highly concentrated and dynamic hub for global ceramic discourse. The Biennale leans toward works and practice, while the Congress focuses on theory, methodology, and international networks. When both unfold in the same city at the same time, artists, scholars, educators, and curators can engage in repeated dialogue within a shared context.
This setting helps break down the barriers between exhibitions, conferences, and education, allowing the future of ceramics not only to be displayed, but to be collectively discussed, negotiated, and shaped.
Q：Compared with long-established biennales such as Faenza in Italy and Mino in Japan, how should the relatively young Jingdezhen Biennale anchor its differentiated positioning and core competitiveness within the global ceramic discourse system?
A：Compared with mature biennales like Faenza and Mino, the youth of the Jingdezhen Biennale actually signifies openness and plasticity. Jingdezhen’s distinctiveness lies in the fact that it is not merely a site where exhibitions take place, but a living field where creation and production are continuously happening. I believe the Jingdezhen Biennale can further emphasize this state of “ongoing becoming,” positioning itself as a biennale that is research-oriented, experimental, and open, rather than simply benchmarking existing models.
Q：How do you view the role of a biennale in an artist’s growth trajectory? How can a balance be struck between “academic authority” and “youthful inclusiveness” to better serve as an international platform for nurturing new ceramic talent?
A：For artists, a biennale is both a threshold and a pathway. Academic authority provides standards of judgment and professional depth, while youthful inclusiveness determines whether the platform has a future. The key lies in whether the evaluation mechanism can recognize works that are “unfinished yet full of potential.” A truly mature international platform should be able not only to affirm highly accomplished works, but also to reserve space for young artists in exploratory phases. This mechanism itself reflects an academic responsibility toward the future.
Q：Some argue that high-quality international ceramic exhibitions function as “silent classrooms,” pushing ceramic education from studios and classrooms into more open public spaces. Based on your teaching experience at Hubei Institute of Fine Arts, how should the Biennale synergize with university ceramic education? How can its resources be used in curriculum design and creative guidance to cultivate students’ international vision and innovative capacity?
A：I strongly agree with this view. Since the ceramic program at Hubei Institute of Fine Arts was formally established in 2008, we have continuously practiced this idea. Beyond daily teaching, the Academy has long organized international professional exhibitions, academic competitions, and forums of various scales. By inviting important ceramic artists and professors from China and abroad for teaching, lectures, residencies, and exchanges, we strive to build an open, diverse, and internationally oriented learning platform for students.
In my view, the key to synergy between professional exhibitions and university education does not lie in whether students directly exhibit or visit exhibitions, but in whether these experiences can be transformed into methodological awareness and problem consciousness. The Biennale provides students with a clear and concrete international reference system, making them aware that contemporary ceramics is no longer concerned solely with technical completion or formal innovation, but with the complex interconnections among material concepts, spatial relationships, and cultural positions. If such experience can guide students to reflect on their own practice within a broader context, the Biennale will no longer be merely a stage-based event, but a driving force for the continual renewal of ceramic education.
Q：New forms—such as mixed-material installations and the integration of digital technologies with ceramics—are constantly expanding the boundaries of the field. What new challenges does this pose for contemporary ceramic education? How can we integrate cross-media approaches while remaining grounded in ceramic materiality and craft traditions, and thus cultivate talents suited to the times?
A：I believe ceramic education must first help students establish a deep understanding of ceramic materials and the logic of craft. This is an irreplaceable foundation. On this basis, cross-media methods and contemporary art thinking can be introduced, enabling students to view ceramics as an open language rather than a closed technical system, while still maintaining material awareness in interdisciplinary creation.
Q：As a peak event, a biennale is highly visible. In your view, on what “invisible levels” does the ecology of contemporary Chinese ceramic art still need to build sustainable cycles?
A：The Biennale is a peak event, but ecological construction relies more on long-term mechanisms: an independent and professional system of ceramic criticism; collection and institutional support aligned with contemporary art; interdisciplinary collaboration with fields such as technology, humanities, and sociology; and a virtuous cycle in which industry feeds back into creation and research. These underlying mechanisms determine whether the achievements of the Biennale can truly sediment into lasting cultural accumulation.
Q：What are your expectations for the 2026 Biennale and the IAC Congress held together?
A：I hope that through the 2026 Biennale and the Ceramic Congress, the world will see the contemporary face of Chinese ceramic art, and that Chinese ceramics will gain a clearer understanding of their position within the global system.
Q：Finally, could you share a few words with young ceramic artists from around the world who are participating in the Biennale, regarding your hopes and advice for their creative journeys?
A：I hope young ceramic artists can all establish long-term, sincere relationships with their materials, and maintain understanding of—and confidence in—their own cultural experiences amid a constantly changing world context. When you find a language of your own in clay, it will naturally connect with your time.
2026 “The Future of Ceramics” Jingdezhen International Ceramic Art Biennale
Registration Deadline：December 31, 2025
Registration Portal：
http://www.cjicb.com/News20251211.html
（责任编辑：刘欢 审稿：兰茜 刘欢）
