前言
Preface

再水墨　再设计

Re-ink Re-design

从“水墨设计”概念的发起到北京国际设计周“2016当代国际水墨设计展”如期开幕，我们坚持学术策展、主流叙事、开放对话，坚持以水墨为主线，以创意为引擎，以设计为抓手，以观众为中心，对水墨设计进行多维度地演绎，并延续水墨设计的存在、形式与观念及其接受、传播、批评与再设计等问题的探索。

From the beginning of exhibition planning to the opens on time, we adhere to academic exhibition, mainstream narrative, open dialogue, take ink as the main line, creativity as the engine, design as the starting point, audience as the center, perform multi-dimensional interpretation of ink design in Beijing Design Week 2016 contemporary international ink design exhibition. At this time we are continue the existence, form, concept and connection of ink design, it also includes the acceptance, dissemination, criticism and redesign.

我们来不及给正在进行中的活动打分，这只是一个起点，我们仍然认为“水墨设计”是一个“无边”的自我挑战。

It’s just a starting point that we don’t have time to score the ongoing activities. We still think that ink design is a boundless self challenge.

在水墨设计展览呈现之前，设计师们以“水墨”为“意”，在“艺”或“技”上进行了大胆的尝试，从作品中我们看到的是“燎原之火”和“百花齐放”。在既定的主题上，来自全球22个国家和地区的设计师和艺术家踊跃创作，他们希望通过展览平台，让观众最大可能地理解和领会“水墨设计”作品。我们接受设计师富有实验性的表现效果，我们认为这不是在制造“距离感”，而是让观众参与到展览活动中来。从北京、武汉、济南、苏州、保定到首尔、釜山、捷克等国家和地区，巡回展出的作品和观众对话。曲高并不和寡，设计师和艺术家的先锋型、实验性恰恰是观众期待的对话形式。也许，受众已经厌倦了约定俗成的、千篇一律的表现手法，他们需要新奇的设计表达。我们不能低估这届观众的审美趣味，正是他们给“水墨设计”定义了守正创新、守正出奇的基调，因此，创作者们也需要重新对自己的作品进行“再水墨”和“再设计”。

Before the ink design exhibition, the designer takes the ink as the rich meaning, and makes a bold attempt in art or technology. What we can see from the works is the conflagration of a prairie fire and a hundred flowers. On the established theme, designers and artists actively create works from 22 countries and regions all over the world. They hope that the audience can understand the ink design works as much as possible. We accept that the designer’s experimental performance is not to create a sense of distance, but to let the audience participate in the exhibition activities. From Beijing, Wuhan, Jinan, Suzhou, Baoding to Seoul, Busan, Czech and other countries and regions, dialogue takes place between the work and the audience. The music is elegant, but many people can understand it. The experimental works of designers and artists is exactly the form of dialogue expected by the audience. Perhaps, the audience is tired of conventional and stereotyped expression effect and they want to see new design expression. We can’t underestimate the aesthetic taste of this audience. It is they who define the innovative and extraordinary keynote of ink design. Therefore, creators also need to re-ink and re-design their works.

客观地说，2016年“新水墨”应当是2018年“新水墨”的“过去式”，2018“新水墨”应当是2016“新水墨”的“新未来”和“再设计”。两年后，设计师和艺术家对“水墨设计”的认知，包括观众对“水墨设计”的接受和传播，都在发生变化。更重要的是，“水墨设计”被赋予的新主张、新形态、新功能、新应用、新驱动，也在发生变化。只有策展团队的初心不变，那就是如何继续将水墨与设计更好地融合，释放当代设计师的东方设计情怀。我们依然寄情于如约而至的2018北京国际设计周。自创办以来，北京国际设计周已成功举办了8届，作为北京重要的年度国际性文化活动，已经成为国家推进创意设计与相关产业融合发展的重要平台。我们依然植根于学术氛围浓厚的首都师范大学美术学院，这里聚集着一批当代水墨设计探索与革新的专家学者，在学院求新图变的激励机制中，他们正阔步前行。

Objectively speaking, the 2016 exhibition should be the past style of the 2018 exhibition, and the 2018 exhibition should be the new future and redesign of the 2016 exhibition. Two years later, designers and artists’ understanding of ink design are changing, and the audience’s acceptance and dissemination of ink design. More importantly, the new ideas, new forms, new functions, new applications and new drivers given to ink design are also changing. Only the original intention of the exhibition team remains unchanged, that is, how to continue to better integrate ink and design and release the oriental design feelings of contemporary designers. We are still committed to the 2018 Beijing international design week. Since whose establishment and has been successfully held for 8 sessions. As an important annual international cultural event, it has become an important platform for the country to promote the integration and development of creative design and related industries. We are still rooted in the school of fine arts of Capital Normal University with a strong academic atmosphere.There are a group of experts and scholars who are gathering here to explore the contemporary ink design. They are marching forward in the incentive mechanism of seeking new pictures and changes.

“大乐与天地同和，大礼与天地同节”。启动2018北京国际设计周“第二届当代国际水墨设计展”，正当其时。将责任继续进行下去，建立水墨设计的语言秩序和价值体系，是策展团队的新担当。回答两年前的思考，水墨设计并没有被视为是对传统艺术审美的挑战，从首届参展作品中可以看出，这反而是对传统水墨创作和当代设计方法的多元、立体且丰富的补充。在第二届投稿的作品中，组委会更能清晰地认识到，一些水墨实验创作已经进入了系统的探索阶段，以水墨为风格导向的文创、装置作品完全具备设计生活美学的特质，甚至具备引导消费趋势的功能，与产业科技的融合发展势在必行。这便是从跃然纸上到“飞入寻常百姓家”的落地转化，就是我们的初心和水墨创意设计的成果。

Great joy and great ceremony are in harmony with heaven and earth. It’s time to open the 2nd contemporary international ink design exhibition of Beijing International Design Week 2018. The new responsibility of the exhibition team is to continue the responsibility and establish the language order or value system of ink design. We continue to think that ink design is not regarded as a challenge to the traditional artistic beauty two years ago. As can be seen from the first exhibition works, it is instead a multiple, three-dimensional and rich supplement to traditional ink creation and contemporary design methods. In the second exhibition, the organizing committee clearly recognized that some ink experimental works has entered a systematic exploration stage. The oriented ink works and installation works fully possess the characteristics of design life aesthetics, and even have the function of guiding consumption trend. It is imperative to integrate the development with production technology.This is the design from paper to daily life, and it is also the result we are willing to see.

“水墨设计”需要一个“再”字，需要对“新水墨”的“新未来”进行“再设计”。未来可期，未来已来。2018北京国际设计周“第二届当代国际水墨设计展”尚在持续开拓中，诚望擅于发现美的您与我们继续携手前行。

Ink design needs a new word and a new future. The future is expected, the future has come. The 2nd contemporary international ink design exhibition of Beijing International Design Week 2018 is still in continuous development. We sincerely hope that you who are good at discovering beauty will continue to work with us.

首都师范大学视觉设计与教育研究所

Research Studio of Art Design, The Capital Normal University

李中扬　教授

Prof. Li Zhongyang