ARTLAVIE/艾和拉维

ARTLAVIE,2012年由著名设计师殷九龙创立,旨在发掘中国传统艺术与当代设计精神的提炼、衔接与创新。ARTLAVIE由法语词“艺术”与“生活”组成,寓意着艺术与生活的相互依存。通过功能性和艺术性的融合,实现艺术与生活的相互转化和衍生。ARTLAVIE的设计在关注实用性之外,也在寻找产品的趣味性所引发的丰富的情绪,并以此触碰使用者的生活和心灵。

ARTLAVIE,一切关乎艺术、生活。

ARTLAVIE,founded by designer Yin Jiulong in 2012,is dedicated to exploring the refinement,combination and innovation of traditional Chinese art and the spirit of modern design.“ARTLAVIE”is coined of the French words for “art” and“life”,meaning the coexistence of the two,which can transform into each other through the combination of functionality and artistry.Not only do ARTLAVIE’s designs focus on functionality,they also exist to explore the abundant emotions that are evoked by a product’s interestingness,which touches a uesr’s life and soul.

ARTLAVIE - It’s all about art and life.


联系我们/Contact

Tel:028-8455 3876
E-mail:artlavie@163.com

 

Yin Jiulong/殷九龙

设计师创作人,视觉艺术家

Artlavie 创始人、艺术总监

1975年出生于中国四川,1996年毕业于成都大学,现工作生活于中国成都。

自1997年投身设计领域,至今已有20年。二十年间,曾多次参与国内外艺术设计展示与交流活动,负责多个国际文化艺术机构的形象设计。同时,参与了成都几乎所有大型文化艺术活动的设计推广。在一定程度上,他的设计已涵盖了平面设计的各个领域。    

近年来,殷九龙的设计创作开始由平面转向空间、产品等多维度跨界尝试,并试图通过这种方式在真正意义上打破艺术、设计与生活的界限。目前,文化艺术设计、创意产业及品牌推广工作构成了他新的重心。2012年,殷九龙在成都创立艾和拉维文化传播有限公司,不断探寻新的设计语言以及传达它的合适载体。

 

展览

2016  “时间之路——中国新手艺/创意与可持续发展”,成都青城山,中国

2016  北京国际设计周,北京,中国

2016  “匠人三人展-殷九龙陶瓷作品”,衡山和集,上海,中国

2016  “1/1000 & song 陶瓷作品展”,设计上海,上海,中国

2016  “1/1000 & song 陶瓷作品展”,FM西式生活馆,成都,中国

2015  “1/1000 & song 陶瓷作品展”,杭州国际设计周,杭州银泰in77,中国

2015  “春的肖像”,杭州国际设计周,杭州银泰in77,中国

2015  “空中楼阁”艺术+与3d打印+,成都当代美术馆,成都,中国

2015  “FROM MING TO MODERNITY——当传统遇到设计”中国设计中心,伦敦,英国

2015  “相-衍生态”,远洋太古里,成都,中国

2015  “梦·天空”,远洋太古里,成都,中国

2014  “不一样的色彩”,上海,中国

2014  “2014 成都城市艺术博览会”,成都,中国

2014  “江苏创意博览会”,南京,中国

2014  “纸介”邀请展, ,艾和拉维艺术生活馆,成都,中国

2014   “1/1000 殷九龙陶瓷作品展” ,艾和拉维艺术生活馆,成都,中国

2014   “2014北京国际设计周” ,大栅栏,北京,中国

2014   “一块砖的传递”当代艺术文献展,圈子艺术中心,深圳,中国

2014    设计上海——“高岭”特别邀请展,上海,中国

2013   “醒夏”珠宝&艺术跨界展,美美力诚,成都,中国

2013   “无止境,艺术现场”——殷九龙&荣涛,五牛视觉与包装学院,成都,中国

2013   “殷九龙的设计”陶瓷作品展,铁象寺水街,成都,中国

2012   “殷九龙的设计”个展,成都当代美术馆,成都,中国2010   “2010德国第一届德中平面设计双年展”,奥芬巴赫,德国

2009   “‘随意’——成都&重庆设计师摄影展”,成都,中国

2007   “纸能创想展”,重庆,中国

2006   “纸能创想展”,成都,中国

2005   “中国现代海报设计展”,名古屋,日本

2003   “首届四川艺术设计大展”,成都,中国

2001   “2001中国平面设计大展”,广州,中国

1998   “首届中国平面设计艺术大展”,成都,中国

 

Designer, Visual Artist

Initiator, Art Supervisor of Artlavie

Born in Sichuan, China in 1975, graduated from University of Chengdu in 1996, currently working and living Chengdu.

It has been 18 years since Yin Jiulong started his career in design back in 1997, during which time he participated in multiple domestic and international events in art and design and has provided image designs for various international cultural and art institutions in addition to taking part in almost all major professional events in Chengdu. In a sense, his works covered all areas in graphic design.

In recent years, he started shifting his direction from graphic design to space design and building products, in an attempt to break the boundaries between art, design and life. His current focus is on cultural and art design, creative industries and brand marketing. In 2012, Yin Jiulong founded ARTLAVIE in Chengdu to explore new design languages and proper media for them.

 

Exhibitions

2016  “Road of Time -the creators project” , Mount Qingcheng, Chengdu, China

2016  Beijing Design Week, Beijing, China

2016  “Three Craftsmen-Yin Jiulong Ceramic Exhibition”,The MIX-PLACE,Shanghai, China

2016  “1/1000 & song Ceramic Exhibition”, Design shanghai 2016 , Shanghai, China

2016  “1/1000 & song Ceramic Exhibition”, Chengdu, China

2015  “1/1000 & song Ceramic Exhibition”, Hangzhou Int’l Design Week, Yintai In77, Hangzhou, China

2015  “The Portrait of Spring”, HangZhou Int’l Design Week, Yintai In77, Hangzhou, China

2015  “Castle In The Air” Art+ & 3D Printing+, MOCA Chengdu, China

2015  “From MING To Modernity” China Design Centre, London, UK

2015  “Xiàng”, Sino-Ocean Taikoo Li, Chengdu, China

2015  “Dream · Sky”, Sino-Ocean Taikoo Li, Chengdu, China

2014  “The Different Colour”, Shanghai, China

2014  “2014 The Citizen Art of Chengdu”, Chengdu, China

2014  “Jiangsu Creative Expo”, Nanjing, China

2014  “Paper Infinite” Invitation Exhibition, Artlavie’s Hall of Art & Life, Chengdu, China

2014  “1/1000 Yin Jiulong Ceramic Exhibition” , Artlavie’s Hall of Art & Life, Chengdu, China

2014  “2014 Beijing Design week: Design Hop Dashilar Alley”, Beijing, China

2014  “The Brick Delivery” Contemporary Art Exhibition, Circle Art Centre, Shenzhen, China

2014  Design Shanghai -- “Kaolin” Special Invitation Exhibition, Shanghai, China

2013  Summer Awakening -- Jewelry & Art Crossover Show,Maison Mode, Chengdu, China

2013  “Endless Art” -- Yin Jiulong & Rongtao, Wuniu Vision, Chengdu, China

2012  “Yin Jiulong’s Design Exhibition ”, Chengdu MOCA, Chengdu, China

2010 First Sino-German Design Biennale, Offenbach, Germany

2009          “Free” -- Chengdu & Chongqing Designer’s Photograph Exhibition, Chengdu, China

2007  “Imagination on Paper”, Chongqing, China

2006  “Imagination on Paper”, Chengdu, China

2005  “Chinese Modern Poster Design Exhibition, Nagoya, Japan

2003 First Sichuan Art Design Exhibition, Chengdu, China

2001  2001 Chinese Graphic Design Exhibition, Guangzhou, China

1998  First China Graphic Design Exhibition, Chengdu, Chinaesign languages and proper media for them.

 

Yin Jiulong that I Know/我所知道的殷九龙

文 — 吕 澎

不久前,殷九龙在受访时说:“‘艾和拉维(Artlavie)’是法语‘艺术与生活’的意思,通过一个路径把艺术转化为生活,这是我希望的。”之前,我们还得知,他很心仪“费思量”这词,曾开过的沸思公司即取意于此。设计费思量,人生费思量,活着的意义费思量。于是,当我们将“费思量”与“艾和拉维”连接起来,翻译一下,就是:关于艺术与生活这两个课题,让人费思量。
按照一般人的判断,殷九龙是不能成为一位设计师的。他是一个农民的儿子,“儿时生活在偏僻落后的地方,直到十岁左右才第一次看到电灯泡。那时觉得,世界好像只有老家这么大。”那已经是20世纪80年代的时光,而作为一个未来的设计师所面临的环境却仍然让人觉得不可思议。可是,在有了不同的艰难困苦经历之后,九龙的确成为了一名成绩卓著的设计师。在这个城市,甚至在设计界产生了不小的影响。
我是1998年认识九龙的。一天,他经介绍出现在奥莱特广告公司的办公室,就以清新而秀气的灵敏给人留下深刻印象。之后,他成为奥莱特的设计师。工作中,他表现出独立、专业和充满创意活力的气质。他尽量不去太多地迎合别人的思维与趣味,他经常想用设计师的态度去影响和改变别人。因此,在公司里,不能够将他仅仅定位为一个设计执行的角色,那样他是会生气的。
奥莱特是在2001年左右结束的。大致从这时起,九龙开始彻底地独立,创办了自己的工作室和公司。可是,我们的合作反而更加密切了。因为特殊的环境与人际,九龙经常呼吸当代艺术的空气,这使得他的设计不单单是一个对产品给予设计解说的结果,如果有可能,他总是尽量将设计看作是一次创作,一次视觉实验。服务于市场的设计师经常抱怨难以很好地发挥设计理念,可是,九龙更愿意迎接挑战,让产品说明书成为新的生活方式的形象阐释。同时,他也认识到效用也是美学本身的功能之一,而不要掉入纯粹形而上学的陷阱。这当然是关注生活、关注社会空气的结果。他说:“我一直认为人生下来只有三件事:认知世界、认知当下、认知自己。”这样的思想准备自然将他引向了不简单是“平面设计”的领域,这就是为什么在近年来他开始尝试艺术实验的内在原因。
对于一位敏感的设计师来说,这个世界上没有什么是不可以被设计的。在很大程度上讲,设计就是改变,就是创造。九龙是这样的设计师,因此,他很容易地就超越了一般设计师的工作惯性。只要可能,他就将自己的实验放在任何以设计的名义而进行的工作中。于是,三维产品的设计成了九龙近期实验的重要内容。他开始进一步地去理解什么是设计,去理解设计与产品、与生活、与艺术的关系。这当然是一种超越,是更高的艺术实验,正如他自己说的:“做陶瓷也是我认识世界、认知自己的方式之一。从来没有想过成为陶瓷艺术家,陶瓷对于我来说只是一种载体,用以创作,能够传递有关生活的信息,这令我感兴趣。”
打开可能性,是艺术实验的第一步,跟着,人们更愿意看到趣味与完美性。九龙在很年轻的时候就喜欢阅读,这是一种内在性的积累。渐渐地,一个人就可以在这样的积累中培养出自己特殊的趣味与气质。九龙有天生的敏感性,这为他知识的吸收起到了积极的作用。这样,他很自然地就能够对平庸与重复给予回避,但同时又能够在传统与其他艺术领域里找到可以利用的资源。他很清楚地认识到,学习与创新都是有依据的。渐渐地,他的简洁、干净、适度、控制以及留有余地的效果就构成了他的趣味和气质上的特征,并成为他的设计美学的风格。
九龙说:“在设计领域,成都大大小小的设计事件我都经历过,比如去年的双年展、2000年的西部论坛,还有一些美术馆、画廊的形象,成都日报的形象等等,以及一些地产和商业项目。目前主要在做自己的事情,如果按照年龄来分,我已经步入中年,还是想用后半生来制造自己的梦想。”现在,他开始调整步伐,朝着自己的梦想出发,他决定将自己的设计放在一个更高的层面上展开,他要创造一种被艺术化了的生活。他不太打算将设计的概念局限在“设计”的范围,他也不太打算将艺术限制在“艺术”的领域,他想实现这样一个梦想:让艺术成为生活,也让生活成为艺术。其实,这是很早的时代那些包豪斯先生们的理想,是人类不断给予继承了的并产生了丰富成果的理想。可是,九龙生活在中国,生活在成都,生活在一个仅仅只有三十年改革的落后环境里,人们有了积累,有了对更高精神内容的理解与认识,所以,九龙意识到是在特定的环境中创造新生活的时候了。人们对新生活已经有了迷蒙的认识,现在是为他们提供实实在在可以触摸的新生活的时候了。只有理解了中国三十年的发展,理解了过去历史对这个国家和民族的创伤,理解了人们在精神生活上是何等的枯寂,才能够理解一个来自农村的男孩在内在天赋和敏感的提示下,在知识的触动下,在不断的实践中,是如何地对生活充满渴望,如何对设计具有要求,如何对艺术产生迷恋。
九龙的这次展览为观众提供了一位设计师的成长历程,也为成都市的观众提供了一个设计师眼中的成都的形象、趣味和视野的变化。我们能够在展览中看到一位设计师的艺术观点、设计思想与生活态度。当九龙开始把“艺术”和“生活”再一次清晰地联系在一起的时候,说明他已经又一次地登上了新的台阶:他开始将设计放在一个更加无限的场域中进行,以便改造社会与自身。他虽然没有到法国去学习,可是,他不断地实践、旅游和思考,这已经将他的视野大大拓宽,因为我们从他的理想和新的设计中看到了新的观点。从这个意义上讲,观众看到的不仅仅是设计,不仅仅是艺术,也不仅仅是产品,更是一个创造性灵魂的历史。
九龙在回答“为什么要去造梦”这个问题时,讲述了自己的经历。我觉得他的经历本身就可以帮助我们去理解什么是条件?什么是成长?什么是渴望?什么是梦想?
儿时生活在偏僻落后的地方,直到十岁左右才第一次看到电灯泡。那时我觉得,世界好像只有老家这么大。世界就是这样的,早晨起来看见阳光,去放牛、去割猪草、上山砍柴,以为生活就该如此这般。慢慢长大去赶集、逛小镇、进县城,你会不由自主地产生疑惑:为什么他们是城里人,而我是农民?我们家在当地受教育程度算是最高的,父亲是党委书记,但工资很低,那时每个月只能拿到几十元钱,家里又有九个孩子,入不敷出,基本靠母亲务农养家。哥哥姐姐们长大后,当兵、工作,一个个离开了家,为了给母亲减轻负担,我会做很多家务农活,生活很困苦。有时候扛不住了,甚至坐在田埂上大哭,因为你毕竟是一个孩子,却承担了成年人的劳动,实在太累了。小时候我学习成绩很好,清楚地记得小学三年级,要去上台领奖,穿着哥哥姐姐的衣服,那是完全不合体的,在农村没有内裤没有皮带,领奖时,老师叫我们把奖状举起来,裤子就掉了,当时眼泪就掉下来了。凡此种种,会觉得自尊心很受伤害,会想为什么别人可以生活的很好,可以有新衣服穿有零食吃,不用整天干农活。生活的贫困也带来了家庭问题,父亲脾气很暴躁,母亲很唠叨,这仿佛是中国传统农村家庭的缩影,对我的性格产生了一些影响。很小的时候我就开始看《白鹿原》、《平凡的世界》,边看边哭,觉得这就是在描写我的生活;长大后看《活着》,会发现这就是我的经历,而这不应该是我这代人应该经历的。
长长地引用九龙的陈述是想提醒说:艺术、设计以及未来生活,不是简单的条件决定的,而今日是自己的努力去创造的。当九龙第一次进县城,第一次看到电视的时候,他看到了文明的差距,这个差距深深地刺痛他。以后,他去镇上念书,听到了流行音乐,开始接触外面的世界。于是,画画的天赋引导他最终走上了设计、艺术的道路。看到展览中九龙的成果,还有什么能够比这更能说明天赋、努力以及意志的力量?的确,生活与人生非常不平坦,“费思量”是终身的事业。不过,一旦将这个事业与自己的兴趣、爱好结合起来,与改造社会的工程结合起来,那么,这将是怎样一个值得去体验的人生!
展览是九龙一次成果的亮相,也是九龙新的开始。未来的艺术与生活仍然费思量,但是,只要坚持,也肯定会更精彩。


Author — Lu peng

Not long ago, Yin Jiulong said, during an interview, “Artlavie means ‘art’ and ‘life’ in French. What I hope is to transform art to life through some path.” We also know that he is   fond of the phrase ‘take deep consideration’ (‘feisiliang’ in Chinese) and he once named his company FACE, which shares the same pronunciation with ‘take deep consideration’ in Chinese. Design, life, the meaning of living, all need to be taken into deep consideration. Therefore, when we put ‘take deep consideration’ and ‘artlavie’ together, it can be interpreted as: art and life, these two subjects need to be taken into deep consideration.
Judged by general thoughts, Yin Jiulong could not be a designer. He is the son of a peasant, “I lived in a very remote town during my childhood. I haven’t seen a bulb until around 10 years old. I thought my hometown was the world then.” Even though the time he referred is 1980s, it is still incredible that he has confronted such environment as a future designer. However, after experiencing various difficulties and hardships, Jiulong has become a marvelous designer. He has made significant influence in this city, or even in the design field.
I knew Jiulong since 1998. He made deep impression by his freshness and sensitiveness when he appeared in the office of AAAright Advertising via recommendation. Then he became a designer of AAAright Advertising. His independent, professional and creative character was reflected during his work. Trying not to cater to other’s thoughts and tastes, he always wanted to influence and change others via his attitude as a designer. Therefore, merely positioning him as an executive designer would upset him.
AAAright AD was closed in around 2001. It’s roughly the time when Jiulong started absolute independence and founded his own studio and company. However our cooperation was even closer. Due to special environment and interpersonal network, Jiulong is able to largely expose in the art atmosphere which leads his design not only as a result of designing interpretation to the product but a creation or a visual experiment if possible. Those designers that serve the market often complain about the limitation of expressing their designing concepts. On the contrary, Jiulong is more willing to embrace challenges and turn the product introduction brochures into an image interpretation of new lifestyle. Meanwhile, he realizes that effectiveness is also one function of aesthetics to avoid metaphysical entrapping. Certainly it is the result of attention to life and social atmosphere. He said, “I always think there are only three things that matter in one’s life: recognizing the world, the present and the ego.” Such mental preparation directs him to the realm beyond ‘graphic design’ naturally and serves as the internal cause of his recent art experiments.
For a sensitive designer, there is nothing in this world cannot be designed. To a great extent, design is about changing, design is about creating. Jiulong is such a designer exceeds the working inertia of general designers. If possible, he would indulge his experiments in any work in the name of design. Therefore, 3D product design has become important content of Jiulong’s recent experiment. He starts to further understand what design is and the relationship between design and products, life and art. Certainly it’s an exceeding and art experiment at higher level. Just as what he said,  “Making ceramics is one of the ways I recognize the world and myself. I have never planned to be a ceramic artist. For me, ceramic is only a carrier for creation and passing information about life. I am interested in that.”
Exploring possibilities is the first step of art experiment. Then people are more willing to see tastes and perfection. Jiulong liked reading since he was young. This is internal accumulation, which leads him to cultivate unique taste and temperament.  Jiulong has inherent sensitivity, which helps him absorb knowledge. Accordingly, he can avoid ordinary and repeat naturally. Meanwhile, he can find useful resources from tradition and other art fields. He knows clearly that learning and innovation have their own basis. Gradually, the concise, neat, moderate, good-controlled and flexible effect have formed his taste and temperament, and have become his design aesthetic style.
Jiulong said, “In design realm, I have experienced big or small events in Chengdu, such as 2011 Chengdu biennale, 2000 Chinese Western Forum, visual identity design for some museums, galleries, and Chengdu Daily and so on, as well as some real estate and commercial projects. Now I’m primarily focusing on my own business. Even though I am already a middle-aged man based on my age, I still want to realize my dream in the rest of my life.” Now, he starts adjusting his pace and heading towards his own dream. He decides to elevate his design to a higher level and he is trying to create artistic life. He does not plan to constrain the concept of design merely in ‘design’, nor constrain art merely in ‘art’. He wants to realize such a dream: to swap art and life. In fact, it is the dream of men like Mr. Bauhous long ago; it is the ideal of men constantly inherited and achieved. However, Jiulong lives in China, in Chengdu, in a life circle that has only been reformed for thirty years. People have accumulation of knowledge and more understanding and recognition to higher spiritual content; hence Jiulong noticed that it is time to create new life in the special context. People has already have vague knowledge of new life, now it is time to provide them tangible and touchable new life. Only after understanding thirty years of Chinese development, understanding the traumatic history of this country and the nation, understanding how dull and lonely the spiritual life of people is, one could understand how much a countryside boy’s longing for life, demand to design and the fascination to art arose by his talent, sensitivity and his knowledge in constant practice.
Yin Jiulong’s exhibition provides audiences the process of a designer’s growth as well as the change of the image, taste and vision of Chengdu in the view of a designer. Hence we can find the art view, designing thought and life attitude of a designer in the exhibition. When Jiulong starts to clearly integrate ‘art’ and ‘life’ again, it signifies that he’s walked onto a new step: he starts to design in more infinite realm, so as to change the society and himself. Although he has never studied in France, he keeps practicing, traveling and thinking, which greatly enlarged his his horizon. This can be revealed by his innovative opinions from his ideal and new designs. In this sense, what audiences can see are not merely design or art, certainly not products, but also the history of creative soul.
When answering the questions, “Why creating dreams?” Jiulong narrated his own experience. I think his experience can help us understand what condition is, what growth is, what desire is and what dream is.
I lived in a very remote town during my childhood. I haven not seen a bulb until around 10 years old. I thought then my hometown was the world. And this is the world: seeing sunshine in the morning when I got up and pasturing cattle, mowing grasses to feed swine, chopping woods in the mountain, and I believed life should be so. After I grew up gradually, I went to the fair, visited towns and counties. I could not help doubting: why are those people citizens whilst I am a peasant? My family was one of the most educated in the village. My dad was a Secretary of Party committee; but his salary was quite low, which was only dozens of Yuan per month. There were nine children which made my family stress out and we all relied on my mom’s farm work. When my brothers and sisters grew up, they either joined the army or found a job and left home one by one. In order to ease mom’s burden, I learnt to do a lot of farm works and lived a very difficult life. Sometimes when I could not burden it, I would sit on the balk and burst into tears. After all I was a kid, it was too exhausting to carry an adult’s work. I did very well at school during my childhood. I remember clearly when I went to the stage to be awarded by school in Grade 3, I was wearing my brother and sisters’ clothes, which was totally unfit. We did not have panty or belt in the village, and when the teacher asked me to hold up the award certificate, my pants dropped off as well as my tears. All of these hurt my self-esteem, I wondered why other people could live a better life, why other kids had new clothes and snacks and they did not have to do farm work all day. Poverty brought family problems, dad’s temper was bad, and mum was nagged, as if it was the miniature of Chinese traditional village families, which impacted my characteristic. I read The Plain of White Deer, Ordinary World when I was a kid and wept all the time while I was reading. I thought they were depictions of my own life. After I grew up, I read Yu Hua’s To Live, and I found out it was exactly what I was through, which should not be what my generation should experience.
The purpose of quoting Jiulong’s narration is to remind: art, design and future life cannot be decided merely by conditions, but by endeavor of today. When Jiulong visited the county and watched TV for the first time, he saw the gap of civilization, which was hurt him deeply. Later, he went to school in the town, listened to pop music and reached the world outside. His talent in drawing thus led him to the road of design and art. When we see the achievements of Jiulong in this exhibition, what else is better to explain the strength of talent, endeavor and willingness? Indeed, living and life are both uneven, ‘take deep consideration’ is a life-long business. However, once we combine the business with interests and hobbies and integrate them with the project of altering the society, what a worth experiencing life it is!
This exhibition is a show of Jiulong’s achievements, and his new start. The future art and life still need to be taken into deep consideration, but it will be more sparkling as long as one perseveres.

 
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