WRECK, the destruction of decorum, the ruin of culture. BENTU went deep into
daily-use ceramics industry in Chaozhou, China, and tried to reveal the disintegration of culture behind this ancient city with huge industrial capacity and commercial value by exhibiting experimental furniture and installation, trying to reshape both the material and decorum.
Under the sweeping wave of globalization, the neat and orderly-planed old towns rapidly disappear, as well as the traditional rural culture that rooted in consanguinity.
The rapid development has brought here more than that. Under the stimulation of globalization,the traditional ceramic industry is abnormally expanding. On the one hand,as demand stimulates enormous production, ceramic enterprises are springing up,occupying a large number of local workers and attracting a large number of migrant rural people to come and work. The reorganization of internal social relation also awakens the individual consciousness of younger generation. For those countless individuals bonded in this huge industrial chain, how is struggle or desire like in such flood? Between past and present, the native and the migrant, how will people live on this land find the value of self-existence in the new era with fluid changes?
当我们进入到一个工厂， “枫溪陶瓷工业区从业工人 4.83 万” 就不再只是一个冰冷的描述， 他们都是每个独立的存在。
When we entered in a factory, “48300 workers counting in the Fengxi Ceramic Industrial Zone” was no longer a chilly description, everyone of them is a an independent existence.
另一方面，地区范围小与家族主义下的保守趋同，使陶瓷企业不断重复废品率高的传统生产模式。 而经济全球化下制造业向劳动成本更低的地区迁移，潮州成为大量西方企业的陶瓷代工点， 这更加剧了废品量的上升。仅一个潮安废瓷加工厂每年回收废瓷就有 1000 吨，这只是潮州陶瓷行业的一个截面。讽刺的是，2018 年 1 月， 中国政府关于‘不再接收塑料、废纸、废弃炉渣、废弃纺织品、废弃矿渣等 24 种进口固体废弃物’ 的禁令正式生效。世界上一半的“洋垃圾” 将要另谋出路。然而，在现实世界的角落里，中国垃圾，洋垃圾，正以各种废品形式， 继续倾倒在这片狭小的土地上。
On the other hand, the ceramic enterprises keep repeating the traditional production mode with high waste rate, as the familism in this small region has resulted in conservative convergence. Along with the economic globalization, manufacturing industry moves to the area with lower labor cost, so Chaozhou becomes the OEM (Original Equipment Manufacturer) for numerous western enterprises, which exacerbates the increase of waste products counts. A recycling plant in Chao’an, a small in Chaozhou,recovers 1000 tons of waste ceramics per year. This is not only a cross section of ceramics industry in Chaozhou, but also the aftereffect of uneven global economic development. It is ironic that, the ban issued by the Chinese government, about no longer receiving 24 types of imported solid waste such as plastics, waste paper, waste slag, waste textiles, abandoned slag, etc, officially took effect from January 2018. As a result, half of the world's “foreign garbage” needs another way out. However, in reality, garbage from home and abroad is still being dumped on this land in various forms of waste.
一个潮安废瓷回收加工厂每年回收废瓷 1000 吨,这不仅是潮州陶瓷行业的一个截面,更是全球 经济发展不平均的后遗症。这是中国的垃圾,更是世界的垃圾。 A recycling plant in Chao’an recovers 1000 tons of waste ceramics per year. This is not only a cross section of ceramics industry in Chaozhou, but also the aftereffect of uneven global economic development. These is the garbage of China as well as the world.
所为 What we do
在行业巨大的产量与商业价值背后,价格倾轧、产能过剩、粉尘污染、废料倾倒等问题严重 影响当地产业现状与生活环境。而传统概念上的对废弃瓷砖的再生利用,仅仅是将废瓷打碎, 重新加入陶瓷制作原料中去。受限于陶土原料需要保持的粘性,每次生产能利用上的废瓷十 分有限。“失体”实验中,我们有另一个方向的尝试:改变瓷砖骨料的利用方式,提高废瓷 的利用率和生产速度,探讨兼具艺术性与实用性的拼装式家具发展可能。作为设计者的我们, 是否可以在这失衡的现实中,重塑其“体”?
Behind the huge output and commercial value of the industry are severe problems of dumping price, excess capacity, dust pollution, irresponsibly disposal, affecting the local industry status quo and living environment. However, the traditional concept of ceramic recycling only means to smash the waste and put them back into the raw materials for porcelain production. Limited by the viscosity pottery clay requires, the porcelain waste powder that can be utilized is not much. In the Wreck Experiment, we managed to carry out a different attempt: change the way of placing porcelain aggregate so as to improve the utilization of porcelain wastes and production speed and develop the possibility of assembled furniture with both artistics and practicable features. As designers, can we reshape both the material and decorum in this unbalanced reality?
作为实验的重要一环,本土创造还与中国政府主办的深圳设计周合作策办“失体”日用废瓷 概念展。该展览于 4 月 20 日在中国深圳完成,现场展出由潮州日用瓷废渣堆叠成的 7 米艺 术装置及实验家具,辅以音像与简介,向观众直观展现出全球最大的日用瓷生产基地——中国潮州的行业剖面,及其巨大产能与商业价值背后崩裂、破碎的文化体统。
As an important part of the experiment, BENTU teamed up with Shenzhen Design Week, the exhibition activity supported by Shenzhen Municipal People's Government, and curated the “WRECK -- Concept Exhibition of Wasted Daily-use Ceramics from Chaozhou, China”, which ended on April 20 in Shenzhen. The exhibition site consisted of the experimental furniture and a 7-meter-long artistic installation stacked with ceramic waste collected from Chaozhou daily-use ceramic factories. With video and intro, he audiences were exposed to direct view of world’s largest ceramic industry base as well as the wrecked culture and decorum behind tremendous capacity and commercial value.
以概念展览的形式面向来自各行各业的社会公众传播、互动,是实验的果,也会是社会秩序 重塑的因。在展览过程中,质疑、鼓励、惊奇、建议......我们拾起的碎片,被观众又一次打 破,更零碎,更尖锐。无论是精英、学生还是外行的百姓,在触摸碎片、甚至调正展品的微 小动作中,触动与反思以更细碎的形态通过观众流动,我们相信这些碎片最终在社会大众当 中汇聚成有力的洪流,真切影响到社会现实。
Communication and interaction with the public come from various walks of life through the concept exhibition was a pleasing result of our experiment, and hopefully a foreseeable start of restoring social order. Including social elite, school students even common people, the public with their surprise, question, advise and encouragement was the one who broke down the already fragile fact then turned it into sharper point of view. The moment people touched the ceramic pieces or slightly adjusted the exhibits, thoughts and emotions provoked were flowing in a much finer form among them, and we believe that these tiny thoughts and emotions will eventually converge and be powerful enough to affect the social reality.