REVIVING CRAFT : Exclusive interview with Yang Lan

The « REVIVING CRAFT » exhibition is a true celebration of Chinese craft heritage and contemporary design. It is hosted at the prestigious Musée des Arts Décoratifs in Paris from July 5th to July 19th, 2024. This remarkable event is part of the Sino-French Year of Cultural Tourism 2024 .

It is the result of a collaborative effort between Yang Lan, President of the Sun Media Group, and Su Dan, Deputy Director of the Chinese Museum of Arts and Crafts. With over 100 captivating pieces on display, created by 40 renowned artists and designers, as well as more than 20 brands, the exhibition showcases the beauty and significance of China’s intangible cultural heritage and contemporary design. It offers a unique opportunity to explore the richness and diversity of this ancient culture.

「新生万物-中国非遗与当代设计展」呈现中国传统工艺与当代设计的融合之美！这场展览于2024年7月5日至19日在巴黎装饰艺术博物馆举行，是2024中法文化旅游年的重要组成部分。

杨澜和中国工艺美术馆副馆长苏丹共同策展，为观众呈现了一场非凡的艺术盛宴。本次展览汇集了40位杰出的艺术家和设计师，以及20多个知名品牌的100多件展品。展览以中国非物质文化遗产和当代设计为主题，展示了中国千年文化与当代设计创新的融合之美，为探索中国文化的丰富性和多样性提供了一个独特的机会。

Exclusive interview with

Yang Lan

Yang Lan is undoubtedly one of the most emblematic Chinese journalists. With over 1,200 interviews with personalities from all over the world, she is recognized by Forbes as one of the most influential women in the world .

Airs de Paris magazine had the exclusive privilege of interviewing Yang Lan in person. She shared her insights and perspectives on the beauty and significance of the « REVIVING CRAFT » exhibition.

杨澜作为阳光媒体集团的董事长，无疑是当代中国最具代表性的记者之一。她迄今为止已经采访了来自世界各地的1200多位名人，并被《福布斯》评为全球最具影响力的100位女性之一。巴黎灵感杂志有幸对杨澜进行了特别专访，她解析了「新生万物-中国非遗与当代设计展」的理念，同时分享了自己对东西方文化的见解和看法。

Why do you want to organise this exhibition?

In recent years, two subjects have particularly captivated my interest: the development of artificial intelligence and the heritage of traditional Chinese culture, particularly craftsmanship. I’ve discovered that these two seemingly unrelated subjects are, in fact, profoundly linked by wisdom and creativity. That’s why the theme of this exhibition, « Rediscovering the wisdom of craftsmanship in the age of artificial intelligence, » is not insignificant.

Over the past few years, I have produced documentary film on AI and interviewed over 200 leading scientists from around the world, as well as many Chinese individuals who are heirs to intangible cultural heritage, particularly in the field of crafts. This exploration has led me to ponder some interesting questions: What is intelligence? What is creativity? What aspects of human creativity are difficult to replace with machines?

It was during this process that I realized human craftsmanship embodies the combined creativity and wisdom of human beings. Craftsmanship also carries a strong emotional element and requires human interaction. We know that these emotions and empathetic connections are difficult to replicate with machines.

This realization is why the theme of this exhibition focuses on the rediscovery of craft wisdom. While preparing for this exhibition, I contemplated whether it would be possible to showcase the work of these exceptional designers in an offline setting. After all, these are tangible objects that can be seen, touched, smelled, and even tasted, engaging all our senses. By experiencing these handcrafted objects in a more personal way, people can develop a deeper connection with them. That’s why we ultimately decided to organize this exhibition.

您为什么组织这次展览?

在过去的几年中，我特别关注两个话题，一个是人工智能的发展，一个是中国传统文化，尤其是手工艺的传承。我发现这两个看似毫不相干的主题，但实际上在一个深层次上是相关联的，那就是关于智慧和创造性。因此这次展览的主题是 » 在人工智能时代重新发现手工智慧 « ，并非凭空而来。

在过去的几年中，我制作了关于人工智能的纪录片，采访了全球200多位顶尖科学家，也采访了几十位中国的非遗传承人，特别是手工艺的传承人。我一直在思考一个有趣的问题，那就是什么是智慧？什么是创造力？人类的哪些创造力很难被机器取代？后来我发现，人的手工艺实际上体现了人类综合的创造力和智慧，同时也包含着强烈的情感因素和人与人之间的互动。而我们知道这种情感和共情是很难被机器取代的。因此，这次展览的主题就是重新发现手工智慧。

在策划这个展览的时候，我在想能否将这些优秀设计师的作品在线下展示，毕竟这些都是看得见、摸得着、闻得到甚至尝得到的有形物品，可以调动我们的所有感官。通过更个性化的方式体验这些手工制品，人们可以与它们建立更深层次的联系，这就是我们最终决定举办这次展览的原因。

What is the concept behind the exhibition?

We aim for our exhibition to be interdisciplinary and comprehensive, going beyond the traditional boundaries of specific fields. While we have previously organized exhibitions in Europe that focused on vertical fields such as Chinese ceramics or painting and calligraphy, we wanted to explore a broader range of disciplines.

During my work on television programs, I had the opportunity to interview dozens of heirs to intangible cultural heritage and contemporary designers. Their expertise spanned various fields, including ceramics, silk, embroidery, tea-making, jewelry, and furniture. This made me question whether it would be possible to present all these diverse fields together in one exhibition. And I firmly believe that it is possible.

This approach reflects a philosophy of change and integration, which finds resonance in the concept of China’s five elements. According to Chinese belief, these five elements are not only fundamental examples of the world but also represent the most essential elements. They have a dynamic relationship with each other, involving mutual exclusion, intertwining, and merging. This concept embodies the Chinese philosophy of change as described in the Yijing (I Ching).

The Yijing is a philosophy of change, and the five elements – metal, wood, water, fire, and earth – are manifestations of this change. They can clash, encourage each other, merge, and create something entirely new. This concept symbolizes the infinite possibilities of a world in constant evolution. That’s why we have adopted the concept of the five elements, as it evokes change and renewal.

By bringing together these diverse fields of craftsmanship and design, our exhibition aims to showcase the interconnectedness and interplay between different forms of creativity and wisdom. It celebrates the rich heritage of traditional Chinese culture while exploring its relevance and resonance in the age of artificial intelligence.

这次展览的设计理念是什么?

我们希望我们的展览是跨学科和综合性的，超越特定领域的传统界限。虽然我们之前在欧洲也做过一些比如中国的陶瓷展览或者书画展览等等，相对来说都是比较垂直的领域，但这次我们希望探索更广泛的学科。

在电视节目制作期间，我有机会采访了数十位非物质文化遗产传承人和当代设计师。他们的领域是跨度比较广的，涉及陶瓷、丝绸、刺绣、茶艺、珠宝和家具等多个领域。这让我产生了疑问，是否有可能在一个展览中展示所有这些不同的领域。我坚信这是可行的。

其实，在这其中就是一种变化和融合的哲学理念。体现变化和融合理念最好的一个概念就是中国的五行。因为中国人认为这五行是万千世界最基本的元素。同时它们之间有相生相克和交融的关系。五行体现了中国人在《易经》中对于变化的哲学。

易经是一种变化哲学，而金、木、水、火、土这五种元素就是这种变化的表现形式。它们可以相互冲突、相互促进、相互融合，并创造出全新的事物。这一概念象征着一个不断进化的世界的无限可能性。这也是我们采用五行概念的原因，因为它能体现变化和更新。通过汇集这些不同领域的工艺和设计，我们的展览旨在展示不同形式的创意和智慧之间的相互联系和相互作用。展览在弘扬中国传统文化丰富遗产的同时，也探讨了中国传统文化在人工智能时代的现实意义和共鸣。

How is the exhibition organised and arranged with different design works?

As design is intricately linked to our lives, the exhibition showcases a wide range of functional works, including objects that can be worn, used for dining, and utilized in various other ways. Chinese brands also have a presence in the exhibition, highlighting their innovation and creativity. Each piece has the potential to touch on multiple elements, creating a rich tapestry of artistic expression. For example, ceramics, often referred to as the art of earth and fire, can be found in the exhibition. In the realm of clothing, elements related to earth and wood can also be observed.

The intention is not to limit oneself to a single element, but rather to create a dynamic arrangement that embodies movement and creativity, while finding a central element that brings it all together. In the section dedicated to fire, you’ll not only find ceramics but also works by masters of paper-cutting and contemporary artists who employ artificial intelligence to explore and express the theme of fire.

Similarly, when considering the earth, it is important to go beyond the notion that clothing must solely be created from plant-based materials like cotton, which is associated with the wood element. In the realm of non-heritage textile crafts, there are numerous sources linked to the earth, such as mineral dyes derived from the earth itself. Animal fibers, such as silk and feathers, also belong to the earth category as they derive from animals that inhabit the earth.

Therefore, the division between elements should be seen as a guideline and concept rather than a rigid categorization. By embracing this holistic approach, the exhibition aims to showcase the interconnectedness and diversity of craftsmanship, highlighting the myriad ways in which elements and materials intertwine to create remarkable works of art and design.

这次展览是如何组织和安排不同的设计作品?

由于设计与我们的生活息息相关，展览展示了各种功能性作品，包括可穿戴、可用于餐饮和其他各种用途的物品。中国品牌也在展览中亮相，彰显了他们的创新和创造力。每件作品都有可能涉及多种元素，创造出丰富的艺术表现形式。例如，陶瓷通常被称为土与火的艺术。在服装领域，也可以看到与土和木有关的元素。这样做的目的不是局限于单一元素，而是要创造出一种体现动感和创造力的动态布置，同时找到一种将所有元素融合在一起的中心元素。在 « 火 « 展区，你不仅能看到陶瓷作品，还能看到剪纸大师的作品，以及运用人工智能探索和表达 « 火 « 主题的当代艺术家的作品。

同样，在考虑 « 土 « 时，重要的是要超越 « 服装必须仅由棉花等植物材料制成 « 的观念，因为棉花与 « 木 « 元素相关。在非遗纺织品工艺领域，有许多来源是跟土有关的，比如染料是矿物质的，它是跟土有关的。动物纤维，如丝绸和羽毛，也属于土的范畴，因为它们来自栖息于土地的动物。因此，元素之间的划分应被视为一种概念，而不是一种僵化的分类。通过采用这种整体方法，展览旨在展示工艺的相互关联性和多样性，突出元素和材料交织在一起创造出非凡艺术和设计作品的无数方式。

You have a wealth of experience in the international media and have interviewed many international celebrities. How do you perceive the differences between Eastern and Western cultures? Do foreigners have misconceptions about China?

I believe that communication is a two-way street, and when there is a communication problem, it is often not the fault of just one party. Therefore, we need to build more bridges to facilitate communication between China and the West. This communication can take various forms, including political, military, and economic ties, which are relatively rigid, as well as through culture, art, and lifestyle, which can be better understood by ordinary people. For instance, we all share aesthetic interests, such as the desire for a better life, appreciation of nature and sustainable development, and the pursuit of education and cultural heritage. China and the West have many commonalities in these aspects.

I hope that design and intangible heritage can serve as bridges to foster communication between different cultures or, at the very least, enable us to share a common language, interests, and hobbies on such a level. I aspire to contribute to constructive endeavors. Even if our individual contributions may seem small, I firmly believe that openness and communication benefit everyone. We can each do our part, no matter how modest, with this mindset.

The West may have misconceptions about Chinese culture. For example, during my travels in Europe, I noticed the prevalence of so-called Chinese gardens in many countries. Additionally, during the period of Chinoiserie in France and Europe in the 17th and 18th centuries, Europeans imitated Chinese-inspired wallpapers, tapestries, porcelain, clothing, and more. This demonstrates both their fondness for Chinese elements and their own fantasies. However, these so-called Chinese gardens and objects differ from authentic Chinese-style gardens and artifacts. They were creations imagined by Europeans and often embellished and fanciful, reflecting their interpretation of Chinese culture at the time.

Today, China is renowned as the world’s factory, with significant production capacity. However, for some time, Chinese products were perceived as relatively low in quality, lacking originality, and prone to plagiarism. Nevertheless, I would like to emphasize that the Chinese people have always been highly creative. Our culture contains numerous positive elements that can be applied to modern life. That is precisely why this exhibition transcends borders and showcases the works of over forty artists and hundreds of pieces. We want to demonstrate the Chinese creativity to the world.

您在国际媒体领域拥有丰富的经验，曾也采访过众多的国际名人，您如何看待东西方文化的差异? 外国人是不是对中国有误解?

我认为，沟通是双向的，当沟通出现问题时，往往不只是一方的问题。因此，我们需要搭建更多的桥梁，促进中西方之间的沟通。这种沟通可以有多种形式，包括政治、军事、经济等相对僵化的方面，也可以通过文化、艺术、生活方式等普通人更容易理解的方式。例如，我们都有共同的审美情趣，如对美好生活的向往，对自然和可持续发展的欣赏，对教育和文化传承的追求。在这些方面，中西方有很多共同之处。

我希望设计和非遗能成为促进不同文化间交流的桥梁，或者至少能让我们在这样的层面上拥有共同的语言、兴趣和爱好。我渴望为建设性的事业做出贡献。即使我们每个人的贡献看似微不足道，但我坚信开放和交流对每个人都有益。抱着这样的心态，我们每个人都能尽自己的一份力量，无论多么微薄。

西方人可能对中国文化存在误解。例如，我在欧洲旅行时注意到，许多国家盛行所谓的中国园林。此外，在 17 和 18 世纪法国和欧洲的中国风时期，欧洲人模仿中国风格的壁纸、挂毯、瓷器、服装等。这表明了他们对中国元素的喜爱，但很多也有他们自己的幻想。这些所谓的中国园林和物品与真正的中国式园林和器物不同，它们是欧洲人想象出来的，往往有很多美化的想象，反映了他们当时对中国文化的理解。

如今，中国作为世界工厂享誉全球，拥有巨大的生产能力。然而，在一段时间内，中国产品被认为质量相对较低，缺乏原创性，容易被剽窃。我想强调的是，中国人民一直具有高度的创造力。我们的文化中蕴含着许多可用于现代生活的积极因素。正因为如此，本次展览超越国界，展出了四十多位艺术家的作品和数百件作品。我们希望向世界展示中国创造力。

Will this exhibition be touring?

We have already received invitations from at least two countries, and we hope to tour the world next year and the year after that. There are several reasons why Paris is the first stop. Firstly, Paris is a city known for its art, design, and fashion, with a rich abundance of artistic resources and a vibrant cultural atmosphere. Secondly, this year marks the Year of Cultural Tourism and the 60th anniversary of the establishment of diplomatic relations between China and France. This brings greater attention and support to the exhibition. Additionally, Paris will be hosting the Olympic Games, which will attract global attention and draw many people to the city.

这个展览是不是会巡展的 ?

我们已经收到了至少两个国家的邀请，希望明年和后年能在世界各地巡回展出。巴黎作为第一站有几个原因。首先，巴黎是一座以艺术、设计和时尚著称的城市，拥有丰富的艺术资源和活跃的文化氛围。其次，今年是中法建交六十周年文化旅游年，也是中法建交 60 周年。这为展览带来了更多的关注和支持。此外，巴黎将举办奥林匹克运动会，这将成为全球关注的焦点，吸引众多人来到巴黎。

Sharing…

This exhibition is absolutely incredible and truly unique! This time, Jean-Charles Pigeau, a famous artiste, Izihari M’SA, the Managing Director of DS Paris Mode, and Aline Putot, a passionate artist, had the privilege of participating in an exchange with Yang Lan. Meeting Yang Lan was an unforgettable experience that deeply touched them. They were truly impressed by her kindness, profound knowledge, and infectious passion.

这次展览绝对令人难以置信，真正独一无二！著名艺术家让-夏尔-皮戈、DS Paris Mode 的总经理伊齐哈里-姆萨和艺术家阿琳-普托特，参加了与杨澜的交流。与杨澜的会面是一次难忘的经历，令他们深受感动。杨澜的和蔼可亲、渊博的知识和极具感染力的热情给他们留下了深刻的印象。

Yang Lan and Jean-Charles Pigeau

Artist Jean-Charles Pigeau has been involved in intercultural exchanges for over twenty years. He offered his book to Yang Lan and also expressed his appreciation for the exhibition.

著名艺术家让-查尔斯-皮戈从事跨文化交流已有二十多年。他向杨澜赠送了自己的画册，并表达了对展览的赞赏。

Aline Putot : This exhibition is absolutely captivating! It offers a remarkable fusion of traditional Chinese craftsmanship and contemporary design. The exhibition’s stunning reports and videos provide intricate explanations of the techniques employed, making it a veritable treasure trove of information. We were fortunate enough to witness the intricate beauty of lacquerwork, jewelry, and embroidery, with each discovery whisking us away into a world of wonder. The seamless adaptation of these traditional crafts to the contemporary realm is truly fascinating, showcasing their evolution in the most captivating manner.

阿琳-普托特 : 这个展览确实令人着迷！你能真正看到中国传统工艺与现代设计的结合。展览中的精美报道和视频详细介绍了作品所使用的技术，是真正的信息档案。我们可以看到不同的漆器、珠宝和刺绣，每一个作品都能让我们进入了一个奇妙的世界。这些传统手工艺与当代手工艺完美的结合，确实令人着迷。

Izihari M’SA : I want to say that this exhibition is simply magnificent! There are so many beautiful things, art and design that transport us to China. The engravings are incredible and there are some superb haute couture pieces with fine gold ornaments, it’s really sumptuous. It’s a must-see! And what’s more, you can enjoy a delicious cup of tea, typically Chinese, during the visit. I loved this exhibition, you really shouldn’t miss it!

齐哈里-姆萨 : 这个展览简直太壮观了！这里有太多美丽的物品、艺术和设计，让我们仿佛置身于中国。雕版印刷品令人难以置信，还有一些高级定制服装，精美的金饰，真的非常奢华。不容错过！更重要的是，在参观过程中，您还可以品尝到可口的中国茶。我非常喜欢这个展览，真的不容错过！

French version :

https://www.airsdeparis.fr/design/reviving-craft-interview-exclusive-avec-yang-lan/

photo: Alexis and Charles

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Printed Magazine 06 2024