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After chatting for an afternoon, I wanted to talk about contemporary art. After all, his works have just participated in the "Still Shanghai" special exhibition of Shanghai moca in the past ten years, together with Yi Ding, Hu, and Bird Head. However, when chatting with this freelance artist who turned from the director of the internationally renowned advertising company Zhiwei Thompson, I still feel that he has something to say about design and cross-cultural communication. From this, it is not difficult to see why Finland loves Asian designers and why it is particularly interested in China designers in recent years.
As for why Finns are so, on the one hand, it is because of China's ancient and prosperous culture, and on the other hand, it may be because of China's huge market.
Docking International Life with China Tradition
When talking about becoming attached to Finland, Pan Jianfeng admitted that he was "accidentally mixed into the Nordic circle". It all started with a project about 10 years ago. "This is an invitation from Helsinki. Originally, I have begun to get involved in artistic creation more and more, but because of that design invitation, I stayed in Finland for more than a month. "
Pan Jianfeng was born in Wenzhou in the mid-1970s. Because of his father's work, Pan Jianfeng's family of four lives in Yuhailou, the oldest library in Wenzhou. "The former residence of the Qing Dynasty has tranquility and elegance that ordinary people can't imagine, and we live in this classical building." Recalling this period of childhood, Pan Jianfeng bluntly had a great influence on him. Pan Jianfeng lived in Yuhailou from more than five years old until the second day of junior high school. When I was young, I learned calligraphy and painted lotus flowers on the pond, which is still vivid. He even showed me a Chinese painting when he was 6 years old, which has been treasured ever since. Lotus pond and lotus leaf petals are the same. If they are not engraved, they will look naive. It's hard to say who is working now.
Later, he studied at the Chinese Academy of Fine Arts, but lost to the British Central University, and then went to work in Shanghai.
From the background of Pan Jianfeng's growth, we can see that he was educated by China traditional culture, especially the brush and rice paper. At the same time, he has an international background, living in Europe and working in internationally renowned advertising companies. Shanghai is the most international city in China.
Looking through Pan Jianfeng's resume, he studied "China Calligraphy and Western Fonts" when he was studying in the UK. After graduation, his first job was as the chief designer and curator of "Made in China ―― Contemporary China Design Tour Exhibition in Britain", which was the first exhibition of China's contemporary design in Britain. After returning to China, I worked in Shenzhen language design for only 8 months. Pan Jianfeng's series of design works "Shenzhen Natural Color Bar Website" won the "Graphic Design Gold Award" from the audience. The dynamic web design of Birmingham Museum and Art Gallery won the "Web Design Award"; The visual image design of Bense Bar won the "Corporate Image Design Award" and so on.
"International customers, especially high-end customers, will definitely require cultural integration and docking in design." Pan Jianfeng bluntly said, "And this cross-cultural docking must be another artistic way." In Pan Jianfeng's view, when the ink painting originated in China is intertwined with the Nordic lifestyle, there will be a chemical reaction.
In a lecture on 20 12, Pan Jianfeng once said: "In my opinion, the biggest feature of Finnish design is' authenticity', whether it is graphic design, architectural design or industrial design. This means that their design is always very reasonable, and human nature is the highest in essence. Finnish designers seem to be able to think quietly about materials, user experience and sustainable development effects, which are reflected in every step of the design. " In his eyes, Finnish designers are also very capable. "We sometimes joke that one of them can be used by four or five people. Many Finnish designers have educational backgrounds in engineering and other disciplines, so they can consider the influence of related links outside the design itself when designing, which also makes their designs more' real'. The application of new materials in Finnish design has gradually become an innovative factor, which is also related to the high-tech level of their country. "
I saw some of his works in Pan Jianfeng's studio, and I feel that his works are not quite the same as many Chinese ink painters. Perhaps it is this difference that makes him adapt to Finland from northern Europe. Generally speaking, although his artistic creation originated from China's brush and Xuan paper, it rarely has the flavor of some stale Chinese paintings, but has the flavor of contemporary sketches. Pan Jianfeng claimed that these ink sketches originated from his observation of life, and he was also good at "writing" people with big strokes of calligraphy.
It is this subtle internationalization that makes Pan Jianfeng a friend appreciated by Finns. In addition, Finnish designers have an international vision and pay attention to the international market. During the "Finnish Innovative Design Week", China designers had an interesting conversation with Finnish designers. When talking about whether there is nationality in design, Finnish designers think that nationality is not so important in design, design is created for people, and the key lies in people's needs.
Why do you love Asian designers?
It is no exaggeration to say that Helsinki is the capital of design. People living in Finland can enjoy two enviable resources, one is the beauty and nature of blue sky and blue lake, and the other is the ubiquitous design.
Known as the "country of thousands of lakes", Finland's design not only contains the sensibility of nature, but also contains the rigor and rationality unique to the Nordic people. Finnish design is pure and smart, and Finns attach great importance to the unity of formal beauty and function. This is the origin of Nokia mobile phone that China people are familiar with, and its works are impressive because they combine elegant, generous and concise design with good technical functions in simplicity.
Its original design contains several important elements. For example, the democratic spirit embodied in simplicity and being close to the people, advocating the spirit of function supremacy embodied in minimalism, the design style and organic formal beauty formed by being close to nature, and even fully excavating, using and appreciating materials.
In 1950s, Finnish design often appeared in international exhibitions, such as the triennial Milan International Art Exhibition. By presenting Finnish design to the world and establishing the image and brand of this country, this strategy won Finland a large number of followers from America, Oceania and Europe in the 1950s and 1960s. Pan Jianfeng, who just arrived in Helsinki, noticed that this is an international city. Even locals have a background in studying abroad. The city here is not as big as the East Asian metropolis, and the population base is quite small, but many people from all over the world live here. As a result, even the aunt who sweeps the floor speaks English very well.
Finnair even claims that it has the closest flight to Asia. Of course, many people in Finland consider themselves the closest EU country to Japan. If they are connected from the North Pole, it is true. Therefore, Finland has always welcomed artists and designers from East Asia with an open mind.
Designers from Japan and Korea have been very popular in Finland since the1980s. In recent years, Finland seems to prefer cross-cultural communication with China designers.
Looking back at the cross-cultural exchanges between Finland, Japan and South Korea, there are many successful cases. For example, a small shop in Helsinki design area is called "LISN", which specializes in selling Japanese-made "incense". It is said that in Japanese, the word to describe "smell" incense is not "smell", but "listen", because the brand names of "listen" and "LISN" were born. Just imagining "listening to incense" is full of poetry. The two founders of Finland's "LISN" branch, one from Finland and the other from Brazil, have lived in Japan for many years and can speak fluent Japanese. The "LISN" branch in Finland cooperated with GLO, a new lifestyle hotel in downtown Helsinki, to develop a product similar to "sachet" and put it in the hotel room. Later, LISN's works returned to Japan and were exhibited in Kyoto and Tokyo.
The designers who participated in "LISN to Finland" are all outstanding designers in Finland today. When tradition meets modernity and Japan meets Finland, the "fragrance" scene is unique. It can be seen that Nordic design can completely connect with Asian traditional culture. It's just that how to connect is a matter of opinion.
In Pan Jianfeng's view, the communication between Finns and people is sincere. When he successfully tried it in Finland, it got out of hand. For example, the Finnish Design Week held in July and August every year has become his important partner. For example, a local construction company asked him to describe local life with traditional China ink painting. Moreover, the textile company asked him to draw pictures, just as the patterns on the cushions and quilts.
Not long ago, Pan Jianfeng completed the contract of the Finnish national advisory group. The other party chose three of his paintings for interior painting. According to the consultant team, compared with Japan and South Korea, China has a bigger market, which is the future development direction.
Compared with the population of Finland, the population of East Asia, especially China, is huge, especially China, a late-developing country, which is now catching up. China people's spending power has been shown to the world. With the sustained development of China's economy, the future China market should receive more attention. For example, some Finnish institutions in China like the works of China designers very much and use them for promotion in China. Of course, it is unknown that they may use Japanese designers when promoting in Japan.
What is the status of China designers in Northern Europe?
There is no doubt that China people are smart, and so are China designers. For example, when Pan Jianfeng made a "letter from home" for a Finnish company, he chose to go to Estonia for printing. Because he found that Estonia's printing cost is cheaper than Finland's, and Estonia, which is also a member of the European Union, is not far from Finland.
What do Europeans think of Pan Jianfeng? Let his old leader talk about it ―― Lao Shuang 'en, chairman of Asia-Pacific Creative Committee of Zhiwei Thompson Advertising Company, commented in the preface of Pan Jianfeng's book How to Do It: "He is very interesting, and his inspiration comes from life. It is what I saw and heard in the big environment when I was a child, what I taught when I was a child, what I saw on my way to work, and what I enjoyed when I became a father. Just like the name Apeng, his works are close to life, but they sublimate life and make us onlookers even more moved. "
What made Pan Jianfeng realize was the words of some Nordic designers. Perhaps these words will inspire China designers how to stand in northern Europe.
Like Marty? Eiskola said, "Life will go on with or without design. But design makes human life more convenient and better. " In Pan Jianfeng's view, people in the city are like a group of animals leaving the forest, walking in reinforced concrete, with their heads held high and their bodies exhausted. In the struggle between ideal and reality, I finally forgot where I came from and lost my way on the way there. "Is there such a design? Can move, accompany, inspire, warm and tolerate you at any time? She must have something to do with our memory. "
Or like Modi? Sally said: "Vivid designers continue to evolve on a dynamic cultural platform." Pan Jianfeng believes that creating a vibrant cultural platform is a favorable guarantee for design and creation. He hopes that the creative industrial park in China can treat the construction of a "cultural platform" with the principle of sustainable development, instead of simply becoming a rental woman. "Everyone needs to think about it. In addition to renting venues, what help can these so-called cultural platforms provide to designers? " Pan Jianfeng said.
In other words, if designers from China understand the meaning of "life goes on" in Nordic design, and those who set up a cultural platform in China can give designers other help besides space, so that more China designers can have an international vision and thinking, then it will be no longer difficult for China designers to base themselves on Nordic design, and even China in the future will have several design capitals. However, at present, the road is still far away.
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