PATTERN AS MEDIUM
Batik Collections from the Baopu Studio
PATTERN AS MEDIUM: Batik Collections from the Baopu Studio is a curated collection presented by the Baopu Art Residency Program in collaboration with the Baopu Studio. This exhibition showcases an innovative display of Chinese ethnic minority batik from the Baopu Studio's collection. Historically known as "laxié," batik originated in Southwest China. This manual dyeing technique, which uses wax as a resist dye, dates back to the Qin and Han dynasties and flourished during the Sui and Tang periods. It returned to Southwest China after the Song and Yuan dynasties and remains a significant traditional activity and artistic expression among ethnic minorities.
Chinese ethnic groups have diverse forms and content in their batik practices. The grandeur and persistence of the Gejia, the innocence and agility of the Raojia, the boldness and uniqueness of the Bailing Miao, the roughness and heroism of the Pingyong Miao, the charm and weaving skill of the Xiaohua Miao, the simplicity and depth of the Buyi, and the meticulousness of the Waishu Miao—all these styles carry intrinsic messages. A common aspect is that creators consider their batik works as living entities connected to themselves. Thus, whether given as gifts or sold, creators will always extract fibers or cut a small piece to keep as a token, believing this preserves the "soul" of the batik.
Our focus today is on how to preserve and embody the "soul" of these traditional items. This exhibition breaks from the conventional approach of strict regional and ethnic categorization, instead focusing on the diverse possibilities of pattern presentation. Using fabric as walls and floors, batik pieces from the past century are hand-sewn, pieced together, and scattered across various scenes, maximizing their sense of breath and warmth. "Deconstruction—Return to the Everyday—Recreation" is the main curatorial strategy. The curatorial team takes batik out of the "white cube," exploring and expanding the interaction between museum-style objects, spaces, and people.
The exhibition employs a mix-and-match approach with innovative spatial divisions, complemented by greenery and antique props. This allows textiles to truly return to their essence and patterns to find each other, thereby softening the distance created by concepts such as "other," "costume," and "ensemble." By setting aside preconceived notions of group identity and transcending geographical and ethnic boundaries, the Baopu team invites the audience to step into this textile space and embrace the life force and cultural significance inherent in batik patterns.
Exhibition dates: 09/06/2024-15/07/2024
Opening：09/06/2024 Sun 2-5pm
Address: Baopu Folk Art Space (previous Baopu Cafe), 5 Feihong Road, Kaili, Guizhou, China
Curator: Dan Hong, Ran Zhou
Co-organizer: Baopu Studio x Baopu Residency Program
Academic Support: Wenbin Yang, Anli Wu
Poster Design: Wei Wei
Special Thanks: Wei Xiang, Yunjie Peng, Yangyang Zhong, Yewu long, Yi Yang, Tongxian Zhang, Fei Long, Zhongxun Wang
纹以载道——抱朴蜡染主题展
“纹以载道——抱朴蜡染主题展”是由抱朴黔东南工作室联合抱朴艺术驻地项目共同呈现的藏品展。展览集合了抱朴工作室现有的中国少数民族蜡染收藏，并进行了创新性的展示。蜡染古称蜡缬，起源于西南，是一种以蜡为防染材料进行染色的手工印染技艺，可追溯至秦汉之际，后兴盛于隋唐。宋元之后又向西南回归，至今仍是少数民族地区最具传统性的生产活动和艺术创造之一。
中国使用蜡染的民族和支系众多，各有不同的形式和内容。亻革家的大气和执着，绕家的稚拙和灵动，白领苗的奔放与奇逸，平永苗的粗狂和雄放，小花苗的俏丽和织巧，布依族的平实和深沉，歪梳苗的精细和密致…这些蜡染都有其内在的讯息内涵。但又一点几乎是共同拥有的，那就是人们把自己创造的蜡染作品，都视为和自己有关系的有生命的存在。所以不管是出于赠予，还是售卖，创作者一定要在这件蜡染上抽出几缕纤维，或剪下小块留存为信物，相信这样就留下了蜡染的“魂”。
如今，如何接力和承载老物件的“魂”成为了我们的探索方向。本次蜡染主题展打破对地区和族群进行严格划分的常规思路，聚焦于纹样呈现的多种可能。以布为墙，以布为地，历经半个乃至一个世纪的蜡染品们被手缝、拼接、散落在不同的场景里，最大程度地释放了老物品的呼吸感和温度。
“解构——回归日常——再创造”是本次抱朴主题策展的主要方针，策展团队将对蜡染的观看场景完整带出了”白立方“，试图探索和拓展“博物馆式”物品与空间和人的相处模式。
展览通过混搭改造与创新性区域划分，搭配以绿植和古道具，让布艺真正回归布艺，让纹样找到彼此，以此淡化“他族”、“盛装”、“套装”等概念所产生的距离感。暂时摒弃群体概念的先入为主，超越地理和族群界限——抱朴团队邀请观众一起，共同走进这个布艺的空间，去拥抱蜡染纹样所自有的生命力量与文化关怀。
展览时间：2024年6月9日—7月15日
开幕式：09/06/2024 周日 2-5pm
地点：抱朴民艺空间（前抱朴咖啡）
地址：贵州凯里市飞鸿路5号
策展人：洪旦 周然
联合主办单位：抱朴黔东南工作室 x 抱朴艺术驻地项目
学术支持：杨文斌 吴安丽
海报设计：魏微
特别鸣谢：项威 彭云杰 钟杨洋 龙耶伍 杨艺 张通贤 龙飞 王仲勋