后陶艺概念的探索与实践

 

上世纪90年代初，我在从事当代观念艺术时，看到了当时陶艺自身存在的局限性，即当时全球的陶艺作品都仅限制在陶瓷材料及陶瓷烧制工艺范围之内，很少有与其它材料结合或是与其它艺术创作领域互动的作品。由此，我追溯了现代陶艺这门艺术产生与发展的过程，经研究发现，现代陶艺的产生与现代艺术的纵向发展是密不可分的。

现代艺术从《达达》艺术群体与现代艺术理论家布雷东《超现实主义宣言》提出非理性和纯精神性并要超越现实生活与物质的束缚，到现代艺术各领域，如绘画、雕塑、建筑等各个门类的艺术家，对自身领域艺术语言及所用材料本身的探索与实践，如俄国艺术家马列维其的《白色上的白色》和《白底上的黑色方块》作品之举，迫使很多传统的画家们走出了架上绘画，而向其它的材料及艺术领域进发，例如：杜尚的《泉》、《带胡须的蒙娜丽莎》。这些探索性的行为与作品，在一定程度上刺激和启发了毕加索和米罗等这些现代艺术巨匠们，他们把自己的创作边界扩展到陶瓷这一具有悠久历史的传统艺术领域，他们还充分运用陶瓷材料及烧制工艺的特殊性所产生的各种独特效果来表达自己的艺术思想。

如上所述，现代艺术大师们充分利用了陶瓷这一古老的材料，并借鉴了传统陶瓷艺术的历史文化和独特的艺术元素，再加入了他们对现代艺术的理解，由此拓展了传统陶艺的形式与材料语言。再加上科学技术的快速发展，使得陶瓷材料与烧成技术有了巨大的提高，以及后来很多艺术家们的追随，促进了现代陶艺形成与发展，最终促使其成为一门独立的艺术门类。

研究了现代陶艺产生与发展过程后，我当时就意识到现代陶艺又走到了一个瓶颈阶段。要想使其能够继续发展，我们不能够再只局限于陶瓷材料及其烧成技术领域的范围之内，要将陶艺与其它艺术领域结合起来。由此，我在1993年提出了后陶艺的概念。

后陶艺概念的基本特点就是运用传统陶瓷文化中的相关艺术符号、艺术语言和内在的创造性精神，结合现当代观念艺术的探索与实验精神，使原有的陶艺概念在当代艺术的整体框架内，将其艺术形式和材料的边界打破和拓展。

哲学家王玉北对 “后陶艺”概念的理解：

“后陶艺”的主要特质是发挥了几千年陶艺史上遗留下来的丰富而优秀的图象遗产，然后，你又利用了当下社会所提供的流行图式，使它们嫁接。这种结果就更具有新颖性，携带出来的当代信息就更强烈了，这是你“后陶艺”具有很重要的思想。你现在运用这个概念创作的“大陶艺”作品，可以流通，可以转化，可以消费，可以使用，它不仅是具有审美的一面，不仅是具有艺术旨趣，它的整体系列活动已经进入了社会结构的全方位运作。这样就使你的“后陶艺”概念在现代陶艺史上也构成了一次艺术革命。（摘自叶双贵与王玉北“关于后陶艺概念”的对话）

美术评论家高名潞对“后陶艺”概念的理解：

你的专业是搞陶艺的，我对近年来国内陶艺的状况不是十分了解，但据我所知，将陶艺完全作为一种“类雕塑”作品来对待的艺术家并不算多。特别是将它观念化的艺术家就更少了。这大概与陶艺在现代社会中的功能有关。你简述陶艺史，似乎为实用——艺术——实用，最后的实用大概即是你所说的“后陶艺”。而且“公众”、“实用”、“传播”、“产品”也确实是后现代的常用语。其实，不论是现代或后现代，其核心都是一种对当下艺术状态、地位与社会的关系及功能的一种批判和思考，因此，“后陶艺”即是对陶艺的既往和现时状态的批判与超越。总的讲，陶艺在现代社会中（工艺社会中），更多地体现为实用品与建筑相结合的装饰物品，现代主义大师的发掘陶艺的艺术精神则与原始主义有很密切的关系，但在今天日益商品化的艺术机制系统中，其技艺在很大程度上也是由此而激发出活力，而发展起来的。因为就陶艺本身的媒体而言确实有其原始性和实用功能性，与工业社会、商业社会的流行大众传播媒体，如印刷、电视、金属、塑料等相比，后者更直接、迅疾地刺激大众的接受神经末梢。这对陶艺是挑战。你的后陶艺使我感到是一种应战，你的大陶艺虽然以产品的极端样式出现，以“媚俗”的外观展示，但确是在努力争取陶艺、你的作品的艺术性和艺术地位。其实，在我看来，艺术首先是宣言。不是任何人都可以讲的宣言，而是一种艺术先锋、准确的自我批判——对艺术机制，它在社会中的关系和与艺术中上下文的联系的判断。而艺术品的价值判断也是与对这宣言的价值的判断相一致的。艺术品作为产品，首先是宣言。真正地成为产品，必有一系列的机制去完成体现，如工厂、画廊、鉴定家、买主、商店等。一般来说在宣言的初始阶段，宣言与产品进入流通是有悖论性矛盾的。我挺喜欢你的“大陶艺”。（摘自《给叶双贵的一封信——高名潞》见《美术报》1994年8月1日第4版或见中国WEB信息博物馆（Web Informal）2002年E-mail:jiaozhanyu@sohu.com）

后陶艺概念的具体作品与实验步骤如下：

一、1993年“大陶艺作品”主要包括“大陶艺”系列作品“大名瓷”和“小名瓷”

“大陶艺”系列作品，是以世界各地著名陶瓷造型为外观样式，以当代卡通符号取代古代的陶器表面装饰而构成基本图案，从而将立体的陶器实物转化成平面的大型剪纸、活广告和卡通贺卡，由此布置“世界著名陶艺展销会”（即“大陶艺自选商场”）。实际上，与会者参观、购买、消费的却只是有形无实的“陶艺”，如此观众参与的艺术行为对当代广告包装、形象化的非实在性交往进行“视觉定标”。

   “大名瓷”是在胶合板上用油漆、油画和炳稀颜料画出的12件系列作品。主要作品：《非吃不可》2R 90×4CM、《PUMA—飘马》180×90×4CM、《小霸王》160×90CM×4CM、《四通集团》158×90×4CM、《战士告别》160×90×4CM、《APOLLO—太阳神》180×90×4CM、《新上市》180×90×4CM、《BALENO—宾鲁》180×90×4CM、《悟空的弱点》168×68×4CM、《三合一》94×90×4CM、《HILTON—西尔顿》158×90×4CM、《NIKE—来客》168×90×4CM

“小名瓷”作品有：《NIKE—来客》、《战士告别》、《非吃不可》、《HILTON—西尔顿》、《三合一》15×13CM×300克胶板彩印贺卡第一版印刷一万张，形式为“大名瓷”原形缩小。

“大陶艺”的行为活动：

1993年4月28日上午9：00—11：30在北京王府井大街南口，麦当劳快餐厅，举行“大陶艺系列”之一“小名瓷”首发仪式。

1993年4月28日下午—29日在北京王府井大街20家书店、报亭出售小名瓷。同时，上午9：00—下午5：00在北京日坛艺术厅画廊设置“大陶艺自选商场”，以便大家自选、参观。

1993年4月30日上午9：00—下午5：00在北京美兴国际快餐开发有限公司（王府井北口金鱼胡同20号娱乐中心内）举办“大陶艺系列”展销会。

1993年5月1日上午9：00—下午5：00在北京少年宫举行“大陶艺爱儿童”娱乐活动。

1993年5月2日上午9：00在北京游乐场举办“大陶艺系列”迎游客展销活动。

1993年7月《大陶艺爱儿童》艺术活动在武汉青少年宫举行。

“小名瓷”销售情况报告

作为大陶艺整体艺术实验活动中的“产品艺术”品——小名瓷贺卡，自其从1993年4月出厂之日起至今（94.5），已在全世界十几个国家、地区及中国十多个省市，如；洛杉矶、纽约、波士顿、伦敦、汉堡、维也纳、巴黎、威尼斯、东京、香港、台北、北京、武汉、广州、深圳、海口、上海、天津、南京、成都、重庆、西安、长沙、厦门、沈阳、哈尔滨等，近百家书店、书摊上销售流通。目前售出共计8千多套。由于此产品以独特的创意、新奇美观的造型并集欣赏、陈设、交往和收藏等多种功能于一身的特质，深受各国、各界、各年龄层次消费者的喜爱。

已购销及代销的单位：

1.北京市日坛艺术厅，代售2000套

2.广州市北京路文豪书店：购销500套

3.《街道》杂志社（中国深圳大学）购销1500套

4.上海市福州路博文书店1000套

5.南京市街心口爱求文化艺术精品店800套

6.湖南美术出版社经贸部400套

7.武汉市江汉路新华书店代销500套

8.武汉方圆物贸服务有限公司购销600套

9.武汉楚天经济广播电台：花仙子节目组购销200套

10.武汉电视台青少部购销500套

11.《青年人报》服务部购销100套

在本届文献展No.3(94.5月上海)的活动期间本厂带去用于广告效益的200套产品当场消费一空。并获得了以下单位和个人的定单及邮购函：

1.上海华东师范大学美术系：陈心懋定购50套。

2.香港中文大学艺术系：陈育强定购10套。

3.Educational Resources &. Peferrals-CHINA对华教育咨询服务中心Doris Stillman女士（美国）定购200套。

4.上海同济大学建筑系城规建筑学院：罗小平邮购20套。

5.法国通用电气阿尔斯通公司经理德威尔先生邮购150套。

6.大连大学工学院工美系：祝锡琨定购50套。

然而，在卡通系列陶艺中，仍然保留某种精神性的消费特征，如感情寄托，放在书架上观赏，被当作感情信物保存等，不能一次性地被彻底消费，因而形下得不彻底。所以在我的下一个作品《病毒餐——食物系列》中，这一点得到了彻底的改变，实现了“陶艺”能被一次性地消费。

二、《陶瓷病毒》

计算机病毒并不是传统概念上的病毒，它不具有病毒的生物特性，是人为制造的。但是它具有病毒同样的破坏性，可以感染、传播、复制，对计算机具有致命的危害性。这种病毒的产生，完全是人类文化与思维出了问题，制造了这些东西。我用艺术的形式，通过陶瓷材料，把病毒这种无形的东西进行有形化。在取名方面，我借用了真实病毒的名称，如“耶路撒冷”、“香水病毒”、“愚人节病毒”等。

“陶瓷病毒”系列产品

（1）“耶路撒冷”——Ⅰ号，25×28×30cm, 高温彩釉烧，93年10月作。

（2）“耶路撒冷”——Ⅱ号，32×28×30cm, 高温彩釉烧，93年10月作。

（3）“耶路撒冷”——Ⅲ号，26×28×32cm, 高温彩釉烧，93年10月作。

（4）“耶路撒冷”——Ⅳ号，25×28×30cm, 高温彩釉烧，93年10月作。

（5）“黑色星期五”——Ⅰ号，28×32×30cm, 高温彩釉烧，93年10月作。

（6）“胜利者病毒”——Ⅰ号，28×26×29cm, 高温彩釉烧，93年10月作。

（7）“100年病毒”———28.5×24×30cm, 高温彩釉烧，93年10月作。

（8）“大寓言病毒”——26×26×29cm, 高温彩釉烧，93年10月作。

（9）“发薪日病毒”——24×24.8×30cm, 高温彩釉烧，93年10月作。

（10）“圣诞节病毒”—— 28.5×26.5×32cm, 高温彩釉烧，93年10月作。

（11）“香水病毒”——18.5×20.4×20cm, 高温彩釉烧，93年10月作。

（12）“魔鬼的舞蹈”—— 8×8×26cm, 高温彩釉烧，93年10月作。

（13）“愚人节病毒”——8.5×8.5×28cm, 高温彩釉烧，93年10月作。

三、《病毒餐系列——食物病毒》

正如上面所谈到的，《病毒餐系列——食物病毒》才是使我的“大陶艺”真正由形上再回到形下的作品。它使人们在日常消费之中，消费“陶艺”，从而也使陶艺真正作为一种精神符号被人们通过具体的可感味觉、咀嚼消化，重新变成一种生命的原动力，完成了创造——消费——再创造的生命生长过程。陶艺不再局限于其烧制的易碎之质，凝固性等特点，不易被彻底消费。一种古老的文化在现代人“大文化的思维园地里更生了，而且获得了永久的生命力。

叶双贵“连续扩散系列”I发布会，II消费病毒

——实况

1993年12月10日，中国武汉“天龙大酒店”。

17：00——宽阔的天龙大酒店门眉上方一条白色布幅上用黑色大字写着：“叶双贵连续扩散系列”，下行红字写着I发布仪式，II消费病毒”。（图一）

17：05——大门两侧的广场上200个五颜六色呈卡通形态的“病毒气球”凌空飘扬。（图二）

17：06——叶双贵面对众宣布其以“形象”定位的计算机病毒“连续扩散系列”活动从今天开始。他表示将与社会和企业合作，以各种材料和媒体把阻碍当今科学技术、资迅发展，直接危害人类现在及未来的新生存状态畅通的“恶魔”，计算机病毒用艺术的态度、游戏的方式、消费的手段，把在人们心灵中的惧怕阴影消解掉，而且还可使之衍生出日常消费的新形象、新名义，及新产品。（图三）

17：22——叶双贵邀请观众与他一起释放“病毒气球”，这时人们一拥而上，顿时广场上的一片天空变得五颜六色。

17：58——此仪式在一片欢乐的气氛中结束。（图四）

18：02——叶双贵向来宾表演“病毒食品”的制作程序及方法。（图五、图六）

步骤：

18：05——①先用水合拌面粉呈均匀状。

18：12——②用手搅拌

18：24——③轻揉面团。

18：35——④用手及工具将面团塑成“病毒”形态。

18：42——⑤用食品颜料画嘴、点眼睛。

18：52——⑥再将半成品“病毒馒头”放入蒸箱中。

19：07——⑦取出蒸熟的“病毒馒头”摆在桌上请大家品尝。

19：20——4张“病毒餐”餐桌上摆满了由各种菜料和食品制作得五花八门的“病毒菜肴”和“病毒食品”。（图七、八、九、十）

消费者名单

叶双贵、栗宪廷、温普林、祝斌、鲁虹、岛子、任戬、周细平、梁小川、吴根友、付中望、项金国、陈育村、温老二、牛牛、金建忠、胡叶忠、蒋镭、孙宇、张治玲、胡怡、高海燕、薛俊东、于河强、张联欢、付胜宏、肖丽、殷涛、刘杰、张先冰、杨蜀江、叶辉、陈费峰、杨念、吴艳艳、肖擎、饶青、刘一伴

肖费者感言：

祝：今晚我们来这里，我的第一个问题是：我们到底是艺术家还是美食家？应该把自己的位置放正啦……

叶：今晚来这里的每一位都是“消费者”。

祝：祝贺“扩散“成功，”“消费成功”。

栗：今天我们给“病毒”过生日。

牛：“病毒”听起来挺可怕的，但吃起来真好吃。

项：味道真不错，看上去色彩挺舒服，造型的感觉真好。

付：如果我们每天能有这种“病毒”吃，那就是共产主义了。

陈：“陶艺”变成了“面艺”感觉真不错。

温：吃点“病毒”增加点免疫力。其实我们这一辈已经是电脑文盲了，吃完这一餐是为下一代增加免疫力。

肖：吃了叶双贵的“病毒”就接受了一次精神的免疫过程。

刘：特别好吃，味道好极了。

温：我估计为这种“病毒”成立一个饭店，包有餐务可赚。

陈：可能的，起码这些造型很特别，其它餐厅从没有过的。应该申请专利。

任：你把你以往制陶的方式转换到做面食上了，操作程序和方法都很类似，只是材料变了。这是艺术的下放，也是艺术家的下放，彻底地生活化了。

吴：我认为他还有一层意义是把他上次的“大陶艺”作品以往前推进了一步，让在当今不容易消费的陶瓷实物及“小名瓷”贺卡，转化成身体可感的味觉直接与人的生理需求挂上了钩。

胡：双贵提示了：生活艺术化，并艺术地生活着，这样一种境界。这是我们现代人应该追求的一种生活态度，用游戏的方式达到心灵的自由。是一种高层面的游戏态度，不论是儿童还是成人都需要这种游戏。

祝：我感觉很愉快。我们在消费一种艺术，在消费当中完成。

鲁：从现实生活来看“病毒”，包括很多种，有生物上的、物理上的、包括计算机病毒在内，确实在向人类进攻，给人类精神上造成一种恐惧的心理压力。艺术家把他转换成一种游戏方式，转化成一种可吃的食品，在吃的过程中消解恐惧心理，他提醒我们在游戏过程中可超越心灵的惧怕，并找到一种解决的办法。

肖：“艾滋病”作为当今世界最关注，最害怕的一种“病毒”，它对人类生存直接造成了威协，目前，对艾滋病“病毒”的关注应该说是世界性的，在世界各国有关“爱兹”的组织和各种专题性艺术及社会宣传活动层出不穷。今年6月在威尼斯国际双年展上就有了一个反“爱兹”的专题展览。由来自十几个国家，近百件作品的数量上，我们可以看到世人对反“爱北病毒”的重视程度。而作为现代主要传媒工具及最简洁流通渠道的“电子计算机”，在它的身体中也出现了类似“爱兹”一样的“病毒”。也许由于它是属于物质性的，它与人的肉体有一定距离，它不是个体的私密性“病毒”，它是公共的“大病症”的病毒。至此，暂时还没有引起社会性的强烈反响。假设：有一天由于他们（计算机病毒）的真接危害而引起全社会的动荡，那时的大众定会象今天人们关心“爱兹”一样关心他们。

我认为叶先生今天用艺术的形式提示的问题是一个及将到来的世界性问题。

岛子：双贵的“病毒”构想很机智，当下要解决的问题是艺术的“日常性”“后现代”与“禅”的根本一致之处，即艺术的无所不在。此次“权充”是与大众相结合的方式，这里有“权充”的最大可能性。

温：其实人类在不断地面临着病毒的侵入，等到你把计算机病毒彻底消解后，你还会消解其它的病毒吗？这一问题作“母语”，那只有根据当时的特定情境来决定。

叶：“大寓言病毒”为当下很敏感的语意，特别准确。

周：我们吃得太干净了……“病毒”扩散了。

金：今天的晚宴非常有意思，我第一次吃到这种特别的菜肴，也是第一次参加这样的艺术活动。感谢叶先生给我们创造了一次这样的机会。

四、《VIRUS FOOD——发乐思套餐》

“病毒”这个主题是我在90年代的后陶艺实验的众多作品中自我感觉最好的得意之作。由此，我在停手制作实物陶艺10多年后，最先想起的主题也就是它。另外的影响就是2003年初发生的SARS疫情（沙斯病毒）还有前几年发生后一直延续致今的H5N1（禽流感病毒）。它们的威力再一次提醒我不要忘记对病毒的继续关注并要进一步思考病毒和人类文明与文化等深层次的关系。在经过黔驴技穷似的一翻思考后，我想起了杜尚在蒙那丽莎脸上添加了两片小胡子的策略……，我为什么不把自己10年前的后陶艺概念的代表作“病毒餐” 作品做一次再加工即再创造一次。过去是从陶瓷——食物——艺术观念。而现在完全可以反过来为：艺术观念——陶瓷实物作品。同样的主题“病毒餐”在不同的时代和社会背景下用原始的陶瓷材料还原它的“形态”也会产生新的意义。于是，就诞生出了我的VIRUS FOOD--发乐思陶瓷餐。

VIRUS FOOD--发乐思陶瓷餐，大圆盘：27x5cm,腰圆盘：30.5x23.5x7cm，大碗：21x8.5cm，小碗：13.5x8cm，本作品为陶艺装置，由碗、筷、盘13件物品组成。

五、《中国制造》

作品名称：MADE IN CHINA ——中国制造，36x23cm，六个一组

本作品为陶艺装置,由上下两部份构成一件作品，上部份为高温彩釉，下部份为现成品。

六、《信息快餐》

信息快餐系列作品，2009

《信息大餐》，12 x16cm

《信息快餐——臭豆腐》，12 x16cm

《信息快餐——炒年糕》，12 x16cm

七、《奶水系列》

尺寸：12 x 8 x16cm，九件一个主题

八、《酒水系列》

六个一个主题

九、《美丽大餐》

十、总结

另外，我还从事绘画、陈设艺术品创作及其日用陶瓷产品设计的实验，如油画《被抹平的标志性建筑》、陶艺《红、黄、蓝》、标志性建筑形茶具及咖啡具等作品。同时，我从以往一个人的创作行为，到拿出一个主题给许多人参与创作，让更多人获得后陶艺的思考方法和创作方式。从而，将后陶艺这种创造性的精神融入到我生活的各个方面。

注：如想进一步了解“后陶艺”概念可参考：

1. 给叶双贵的一封信——高名潞见《美术报》1994年8月1日第4版或见中国WEB信息博物馆（Web Infomall）2002年E-mail:jiaozhanyu@sohu.com

2.《黑皮书》艾未未等编 1994年美国出版，

3. 走向“大文化”的可贵探索——叶双贵“大陶艺”的文化诠释，吴根友。

4. 精神造型——叶双贵陶艺一说，余虹。

5. 叶双贵：艺术一定要愤世嫉俗吗？作者：樊星《今日名流》1996年第二期P45。

6. 四条汉子的追求——彭德《今日名流》一九九六年第二期，P48

7. 《中国前卫艺术》刘淳著，百花文艺出版社，P266-273，1999年9月出版。

8. 中国当代行为艺术考察报告——高岭发表于《今日先锋》第7期，P68，1999年7月出版。

9. 《波普艺术——断层与绵延》孙津著。中国当代美术现象批评文丛，P173，1999年5月出版。

10.《今日中国美术》II卷，P409. 北京出版社，2002年2月第一版。

 

The Exploring and Practice of Post-ceramics Concept

Ye Shuanggui

When I was engaged in contemporary conceptual art in the early 1990s, I found the limitations of ceramics. At that time, the world's ceramic works were only restricted to the range of ceramic material and ceramic firing process, and there were few works that combined with other materials or interacted with other art field. Therefore, I traced the production and development process of modern ceramic art. After research, I was aware that the production of modern ceramics art was inextricably in touch with the vertical development of modern art.
 Modern art originated from the art group "Dada". And modern art theorist Breton proposed non-rational and pure spirit in his "Surrealism Declaration" and wanted to go beyond the constraints of life and material. After that ,modern artists from various fields, such as painting, sculpture, architecture, all tried to use their own language and material to explore and practice art, such as the Russian artist Malevich's series: "White on White" and “Black Square”. His practice forced many painters to go out of the traditional easel painting into other materials and art field, such as: Duchamp's "Spring," "Mona Lisa with a Mustache " To a certain extent, those exploratory behaviors and works stimulated and inspired the great masters of modern art, such as Picasso and Micro. So they extended their creation to the field of ceramic with a long history. They made full use of the unique effects generated by ceramic materials and firing processes to express their artistic ideas.
 As noted above, modern art masters took advantage of ceramic materials, referred to the culture and the unique art elements of the traditional ceramic, and then added their understanding of modern art, thereby expanding traditional ceramics form and material language. Coupled with the rapid development of science and technology, ceramic materials and firing techniques have improved markedly. Additionally, many artists followed and promoted the formation and development of modern ceramics art, finally leading it to an independent art category.
 After researching the production and development process of modern ceramics art, I realized that modern ceramic art had been limited to the range of ceramic materials and ceramic firing process. We should combine ceramics with other arts to break the bottleneck and to ensure its sustainable development, Thus, I advanced the post-ceramics concept in 1993.
 The basic feature of post-ceramics concept is to use relevant art symbol, artistic language and creative spirit in traditional ceramic culture in company with the experimental exploration of the contemporary conceptual art to break and expand the border of art form and material in the original ceramics art concepts within the overall framework of modern arts.

Philosopher Wang Yubei's Understanding of Post-ceramics Concept
The main character of post-ceramics concept is that it makes full use of the rich and excellent image heritage left by ceramics with a history of thousands of years. Exploit the currently popular schema and graft them onto it, and the result is even more novel and carries out the contemporary information even more strongly, which I believe is the core of post-ceramics concept. Now you use this concept to create great ceramic works, which can be circulated, transformed, consumed and exploited. It not only contains the aesthetic side, but also has the purport of art. The whole series of activities have entered the full operation of the social structure, which makes your post-ceramics concept an art revolution in the history of modern ceramics art. (From Ye Shuanggui and Wang Yubei's dialogue ' "on post-ceramics concept.")

Art Critic Gao Minglu's Understanding of Post-ceramics Concept
Your profession is engaged in ceramics art. I do not quite understand the situation of domestic ceramics in recent years. But as far as I know, very few artists take ceramic completely as a "class sculpture". In particular, even fewer bring the concept in ceramics. This is probably in touch with the function that ceramics takes in modern society. Briefly reviewing the history. it seems that ceramics develops from utility to Art, and to utility. The utility may be what you said about the "post-ceramics." And the terms, such as "public", “utility ", "communication", and "product", are also popular post-modern language. In fact, whether modern or post-modern, its core is a kind of critical thinking to the state of contemporary art, social status, social relationships, and social functions. Therefore, "post-ceramics" is a criticism and surpassment to the past and present state of the ceramics art. Generally speaking, ceramics art in modern society (the process in society) is representative of the decoration that combines real products with building materials. There is a close correlation between primitivism and art spirit that masters of modernism research into ceramics. But in today's increasingly commercialized art mechanism, the skill is largely inspired and developed on this basis. As to the media of ceramics, it does have its original and practical function. Contrary to the mass media in the industrial society and business community, such as printing, television, metal, plastic, which are more direct and swift to stimulate the nerve ending of the public, it is a challenge to ceramics art. However, from my perspective, your post-ceramics is a kind of challenge. Although big ceramics appears in extreme product form, even in kitsch appearance, it is actually fighting for ceramics art, the artistic quality and the artistic status. In fact, art is firstly a declaration which not anyone can express. Besides, it is also an artistic pioneer, an accurate self-criticism to art mechanism, and a judgment in the society relationships and the context of art. The value judgments of art works are also consistent with the value judgments in this Declaration. First, it becomes a declaration. If it really becomes a product, there must be a mechanism to carry it out, such as factories, art galleries, appraisers, consumers and shops. Generally speaking, it is paradoxically contradictory that the declaration and products both go into the circulation in the initial stage of the declaration. To be honest, I like your "big ceramics"very much. (From "a letter to Ye Shuanggui - Gao Minglu," see "Art Report," August 1, 1994 version 4, or see the information the Chinese Museum of WEB (Web Informal) ,2002 ,E-mail: jiaozhanyu@sohu.com )

一.The Specific Works and the Experimental Procedure of Post-ceramics Concept are as follows:
1, The series of "big ceramics" works in 1993 includes "big porcelains" and "small porcelains".
The series of "big ceramics" works use the world famous ceramic styling to form exterior style and use the contemporary cartoon symbols to replace surface decoration of ancient ceramics to form basic patterns. In this way, the three-dimensional physical ceramics are converted into large paper-cut, live advertisements and cartoon greeting cards. And then the world-famous Pottery Fair was held (i.e. exhibition of big ceramics "). In fact, what the participants purchased is ceramics in form, not the physical. So the acts of audience make the contemporary advertising art package and the non-reality contacts a kind of "visual calibration."
 "Big Porcelains" contains 12 series of works drawn on plywood by using paint, canvas and paint pigments.  Its major works are

"Dishes You Won't Want to Miss", size: 2R 90 × 4CM

"PUMA-Puma", size: 180 × 90 × 4CM

"Bully", size: 160 × 90CM × 4CM

"Stone Group", size: 158 × 90 × 4CM

"Warrior Farewell", size: 160 × 90 × 4CM

"APOLLO-Ra", size: 180 × 90 × 4CM

"Newly Listed", size: 180 × 90 × 4CM

"BALENO-Bin Lu", size: 180 × 90 × 4CM

"The Weakness of Monkey King ", size: 168 × 68 × 4CM

"Three in One", size: 94 × 90 × 4CM

"HILTON-Stilton", size: 158 × 90 × 4CM

"NIKE-visitor", size: 168 × 90 × 4CM

"Small Porcelains" works are:

"NIKE-visitor", "Warrior Farewell", " Dishes You Won't Want to Miss ", "HILTON-Stilton," " Three in One " , size: 15 × 13CM ,300 gram plastic color printing greeting cards, first printing 10 000 sheets, in the form of "big porcelains" narrow prototype.

The Behavior Activities of "Big Ceramics "
Launching Ceremony of "Small Porcelains" was held on April 28, 1993, from 9:00 am to11:30 am at McDonald's , Wang Fujing Street South Side, Beijing,.
Small porcelains were sold on April 28-29, 1993, at 20 bookstores and kiosks, Wang Fujing Street in Beijing, meanwhile, "Big Ceramics Supermarket " was set up from 9:00 am to 5:00 pm at Beijing Ri Tan Art Gallery, so that people can easily make their choices.
Big Ceramics Series Fair was organized on April 30, 1993,. from 9:00 am to 5:00 pm , at  Beijing Mei Xing International Fast Food Development Company. (Entertainment Center, Number 20, Goldfish Lane, Wang Fujing North)
An entertainment activity -"Big Ceramics Love Children" was held on May 1, 1993, from 9:00 am to 5:00 pm, at Beijing Children's Palace.

"Big Ceramic Series" activities were held on 9:00 AM , May 2, 1993, at Beijing Playground.
An entertainment activity -"Big Ceramics Love Children" was held In July 1993 at Wuhan Children's Palace.
Sale Report of " Small Porcelains "
As part of "product art" of " Big Ceramics " experimental activities , " small porcelains " card, from April 1993 to now (May1994), has been sold at hundreds of bookstores and  book vendors in dozens of countries and regions around the world, such as: Los Angeles, New York, Boston, London, Hamburg, Vienna, Paris, Venice, Tokyo, Hong Kong, Taipei, Beijing, Wuhan, Guangzhou, Shenzhen, Haikou, Shanghai, Tianjin, Nanjing, Chengdu, Chongqing, Xi'an , Changsha, Xiamen, Shenyang, Harbin. More than 8000 sets have been sold during this time. This product is well-received by consumers of different ages from all walks of life for

its unique creation, beautiful shape as well as its functions in appreciation, furnishing, communication and collection .
Units that Have Purchased this Product
1. Beijing Ri Tan Art Gallery, purchased 2,000 sets
2. Writer Bookstore at Beijing Road, Guangzhou, purchased 500 sets
3. "Street" magazine (China Shenzhen University) purchased 1,500 sets
4. Bo Wen Bookstore at Shanghai Fuzhou Road, purchased 1000 sets
5. Seeking Love and Culture Art Boutiques at Nanjing Street, purchased 800 sets
6.The Economic and Trade Department of Hunan Fine Arts Publishing House purchased 400 sets.
7. Xinhua Bookstore at Jianghan Road, Wuhan,purchased 500 sets
8. Wuhan Fangyuan Trade Services Company purchased 600 sets.
9. Wuhan Chutian Economy Radio: Flower Fairy Group purchasing program 200 sets
10. Youth Ministry of Wuhan TV Station purchased 500 sets.
11. The Service Department of Youth Daily purchased 100 sets.
During Literature Exhibition No.3 (94.5 in Shanghai), 200 sets of product brought for the benefits of advertising were sold out. And orders were obtained from the following units and individuals:
1. Chen Xinmao, Department of Fine Arts of Shanghai East China Normal University, ordered 50 sets.
2. Chen Yuqiang, Fine Arts Department of The Chinese University of Hong Kong ordered 10 sets.
3. Educational Resources &. Peferrals-CHINA China Education Advisory Service, Ms. Doris Stillman (USA) ordered 200 sets.
4. Luo Xiaoping, Architecture Department of Shanghai Tongji University ordered 20 sets.
5. Mr. Caldwell, the manager of Alston, General Electric, France, ordered 150 sets.
6. Zhu Xikun, Technology School of Dalian University ordered 50 sets.
However, in the series of cartoon ceramic art works, the consumption features of a certain spirituality still retained, such as emotional sustenance, appreciation, emotional keepsake , so it can not be one-time consumed completely , hence it is degraded inadequately. Therefore, my next works "Virus Meal - Food Series" was a radical change to achieve the effect that ceramics can be one-time consumed.

二. Ceramics Virus

Computer viruses are not traditional viruses. They don’t have the biological characteristics of a virus. They are man-made yet destructive. They can infect, disseminate, copy and cause deadly danger to computers.  It is because of something wrong with the culture and thinking of human that they created these things—computer viruses. I took ceramic material, in the art form, to make the intangible virus tangible. Therefore, I name after real viruses, such as "Jerusalem", "Perfume virus", "Fool's Day virus", etc.

"Ceramic Virus" Products
(1) "Jerusalem" - Ⅰ, size:25 × 28 × 30cm, high-temperature glaze firing, October, 93
(2) "Jerusalem" - Ⅱ, size:32 × 28 × 30cm, high-temperature glaze firing, October, 93.
(3) "Jerusalem" - Ⅲ, size:26 × 28 × 32cm, high-temperature glaze firing, October, 93.
(4) "Jerusalem" - Ⅳ, size:25 × 28 × 30cm, high-temperature glaze firing, October, 93
(5) "Black Friday" - Ⅰ, size:28 × 32 × 30cm, high-temperature glaze firing, October, 93.
(6) "Victor Virus" - Ⅰ, size:28 × 26 × 29cm, high-temperature glaze firing, October, 93.
(7)” Centennial Virus", size: 28.5 × 24 × 30cm, high-temperature glaze firing, October, 93.
(8) "Great Fable Virus", size: 26 × 26 × 29cm, high-temperature glaze firing, October, 93.
(9) "Payday Virus", size: 24 × 24.8 × 30cm, high-temperature glaze firing, October, 93

(10) "Christmas Virus", size: 28.5 × 26.5 × 32cm, high-temperature glaze firing, October, 93.
(11) "Perfume Virus", size: 18.5 × 20.4 × 20cm, high-temperature glaze firing, October, 93.
(12) "Devil's Dance", size: 8 × 8 × 26cm, high-temperature glaze firing, October, 93.
(13) "Fool's Day Virus", size: 8.5 × 8.5 × 28cm, high-temperature glaze firing, October, 93

三. The Virus Meal Series - Food Virus

As mentioned above, the "virus meal series - food virus" is to make "big ceramic" understated so that the public can consume "Ceramics" in their daily consumption. Thus ceramics becomes a spiritual symbol which can be tasted, chewed and digested, and a driving force of life to complete the life-growth process, i.e. creation - consumption- recreation. Ceramics is no longer limited to the fragile quality and coagulation which can not easily be consumed completely. In this way, the ancient culture rehabilitated in the thinking garden of modern culture and also obtained a permanent vitality.

 

- A Live Report Of "the Series of Continuous Proliferation"

I  Launching Conference    II    Consuming Virus        Ye Shuanggui,
December 10, 1993, Wuhan, China, Dragon Hotel.
17:00 - black characters on a white cloth were written above wide door: "Ye Shuanggui, the series of continuous proliferation". The Scarlet Letter was: I  the launching ceremony, II consuming virus. "(Figure 1)
17:05 - 200 colorful cartoon "virus balloons" were flying at the square on both sides of doors,.(Figure 2)
17:06 - Ye Shuanggui announced the beginning of "the series of continuous proliferation" event, its "image" from a computer virus. He said he would cooperate with business cooperation and the community and exploit media and a variety of materials in the attitude of art, in a game's way and by a means of consumption to digest off fear in people's hearts caused by computer viruses, the "devil" that hinders the development of science and technology and destroys the future and present living conditions of human. Meanwhile, it also results in the production of new image, new names and new products for daily consumption.(Figure 3)
17:22 - Ye Shuanggui invited audience to release the "virus balloon", and then people surrounded them and suddenly the sky over the square becomes colorful.
17:58 - This ceremony ended in a fun atmosphere.(Figure 4)
18:02 - Ye Shuanggui showed the making procedures and methods of "virus food" to guests (Figure 5, Figure 6)
Steps:
18:05 - ① firstly mix water with flour uniformly
18:12 - ② mix in hand
18:24 - ③ knead dough softly
18:35 - ④ mold dough by hand and tools to "virus" form.
18:42 - ⑤ draw the eye and the mouth with food color paintings
18:52 - ⑥ then put the semi-finished "virus bread" into a steam box.
19:07 - ⑦ put the steamed "virus bread" on the table for everyone to taste.
19:20 - 4 tables were filled with a wide variety of "virus dishes" and the "virus of food produced by vegetables and food (Figure VII, VIII, IX, X)

Consumer List
Ye Shuanggui, Li Xianting, Wen Pulin, Zhu Bin, Lu Hong, Dao Zi, Ren Jian, ZHOU Xi-Ping, Liang Xiaochuan, Wu Genyou, Fu Zhongwang, Xiang Jingguo, Chen Yucun, Wen Laoer, Niu Niu, Jin Jianzhong, Hu Yezhong, Jiang Lei, Sun Yu, Zhang Zhiling, Hu Yi, Gao Haiyan, Xue  Jundong, Yu Heqiang, Zhang Lianghuan, Fu Shenghong, Xiao Li, Yin Tao, Liu Jie, Zhang Xianbing, Yang Shujiang, Ye Hui, Chen Feifeng, Yang Nian, Wu Yanyan, Xiao Qing, Rao Qing, Liu Yiban

Comments of Consumers
Chu: We are here tonight. My first question is: Are we artists or gourmets? Our position should be put correctly.
Ye: Everyone here tonight is  a "consumer."
Chu: Congratulations to "proliferation" success "and" consumption success".
Li: Today we hold a birthday for the "virus".

Niu: "virus" sounds horrible, but tastes delicious.
Xiang: taste really good; the color looks very comfortable; the shape is perfect.
Fu: If we have such "virus" to eat everyday, it is communism.
Chen: It feels really good that "ceramics art" becomes " flour art".
Wen: Eat "virus" to increase immunity. In fact, we are computer illiterate, and finish the meal to increase immunity for the next generation.
Xiao: Eating the "virus" Ye Shuanggui is just like accepting a spiritual immune process.
Liu: Special delicious, delicious.
Wen: I estimate that it will make money to set up a hotel for "virus"

Chan: Maybe, at least the shape is unique, and we haven't seen that in other restaurants.. Apply for a patent.
Ren: You put your way in which you make ceramics to make pasta. The procedures and methods are similar, but material has changed. This is the decentralization of art, also the decentralization of the artist, which make art permeate into life.
Wu: I think there is another significance in making "big ceramics" step further. So the physical ceramic and "small porcelains" cards, not easily consumed,  can be transformed into a sense of taste directly to meet with the physical needs of people.
Hu: Just as Shuanggui mentioned: the art of life and artistic life is such a realm. This is an attitude to life which we should pursue in the way of game to reach a free mind.It is a high-level game approach. Whether they are children or adults, they all need this game.
Zhu: I feel very happy. We are consuming a kind of art and complete it in the process.
Lu: As to real life, there are many kinds of viruses, including biological, physical and computer viruses. Indeed, they are making offensive challenges to mankind and creating a psychological pressure of fear to the spirit of human. Artists transform them into edible food in a game mode so as to digest off fear in the eating process . It reminds us that we could go beyond fear, and find a solution in the course of the game.
Xiao: "AIDS", the virus that the world is most concerned about, has directly caused prestige to the existence of human. At present, organizations, various thematic arts and social advocacy that are relevant with AIDS spring up in the world.  An anti-AIDS exhibition was held In June 2010 at Venice Biennale, .Hundreds of works from dozens of countries show that people pay attention to fighting against AIDS. As a modern major media tool and the most convenient distribution channels, a virus just like AIDS also appeared in computers .Perhaps because it is material in nature, there is a certain distance between it and human body. It is not individual's privacy "virus", but the virus of the public's "serious disease". Now, it has not caused strong social reaction. Assuming that one day their damage caused social unrest, then, the public will be concerned about them just like what they do to AIDS.
I think that the question Mr. Ye prompted today in the form of art is a worldwide problem concerning about our future.

Daozhi: The concept of "virus" is very clever. At present, an immediate problem to be solved is the art of "routine", "post-modern" and "chan" between the fundamental. Art is everywhere. This activity is a wonderful combination with the public, which exhibits a maximum likelihood.
Wen: In fact, human beings are constantly facing the invasion of viruses. When you completely digest off computer viruses, will you also digest off other viruses? Take this issue as a "mother tongue", and at that time we should decide according to specific situations.
Ye: "Great Fable virus" is taken as very sensitive to semantics currently, which is particularly accurate.
Zhou: We eat too clean and "virus" spreads.
Jin: Today's dinner is very interesting .It is the first time that I eat this kind of special dish. It is also the first time that I take part in this kind of arts activities. Thanks to Mr. Ye.

四.VIRUS FOOD

In the 90's, I made many experimental works in the practice of post-ceramics concept. "Virus" is one that I feel best. After stopping making ceramic for 10 years, the first theme I thought is this subject. Besides, the effect of SARS which occurred in early 2003 (SARS virus) and the H5N1 (bird flu) which occurred a few years ago once again reminds me to concern about virus and to think the close relationship between virus and human civilization and culture. After pondering over for a long time, I thought the Lisa's face on which Monte Duchamp added two mustaches. Why not reprocess the works of "virus meal "? In the past, the artistic concept is from ceramics to food. Now it can be reversed: from food to ceramic works. In different ages and under different social backgrounds, the same theme of "virus meal" will also carry new meanings when using the original ceramic materials to restore its "form". Thus, my work-VIRUS FOOD was born.

VIRUS FOOD

The size of the large disc: 27x5cm,

The size of the lumbar disc: 30.5x23.5x7cm,

The size of the bowl: 21x8.5cm,

The size of the small bowl: 13.5x8cm,

The works is a ceramic device, consisted of 13 items, such as bowls, chopsticks, plates.

5, Made in China
Name: MADE IN CHINA, Size: 36x23cm, a group of six.
The work is constituted of two parts. The upper part is high temperature glaze and lower part is product.

6, Information Fast Food
The series of works-"Information Fast Food", made in 2009
"Information Feast", 12 x16cm
"Information Fast food - Stinky tofu", 12 x16cm
"Information Fast Food - Fried rice cake", 12 x16cm

7, Milk line
Size: 12 x 8 x16cm, 9 in a theme

8, Wine Series

A theme contains six

9, Beautiful Food

10, Summary

In addition, I am also engaged in painting, furnishings and household ceramics design, such as the painting "the disappearing landmark building," the ceramics works "red, yellow, blue," the landmark- shaped tea and coffee sets, etc. At the same time, I transform from an individual creative act in the past to come up with a theme to a collective one so that more people can be involved in the thinking methods and creative ways of post-ceramics. Thus, I integrate the creative spirit of the post-ceramics into all aspects of my life.

Note: If you want to learn more about the " post-ceramics " concept, you can refer to:
1. A letter to Ye Shuanggui - Gao Minglu, see "Art Report," August 1, 1994 ,version 4, or see the information Museum, Chinese WEB (Web Informal) 2002, E-mail: jiaozhanyu@sohu.com
2. "Black Book", edited by Ai Weiwei, published in the U.S. in 1994,
3. The Valuable Exploring to "Big Culture" - Ye Shuanggui's Interpretation of "Big Ceramic" culture, written by Wu Genyou.
4. Mental Shape - Ye Shuanggui and Ceramics, written by Yu Hong.
5. Ye shuangGui: Must Art Be Cynical?  written by Fan Xing, "Today's Celebrity", in 1996, the second periodical, P45.
6. The Pursuit of Four Men- "Today's elite" 1996 II, P48, written by Pen De
7. "Avant-garde Art in China," edited by Liu Chun, published in November 1999, by flowers Art Press, P266-273.
8. Chinese Contemporary Performance Art Inspection Report – kaolin, published in the "Vanguard Today," No. 7, P68, 1999.7
9. "Pop Art - Fault and Rolling," edited by Sun Jin, The Phenomenon of Chinese Contemporary Art Criticism, P173, 1999.5.
10. "Chinese Art Today" II volume, P409. Beijing University Press, February 2002, the first edition.