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.
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 “FROM MING TO MODERNITY——当传统遇到设计”中国设计中心，伦敦，英国
2014 “2014 成都城市艺术博览会”，成都，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
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
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.
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.
- 文 — 吕 澎
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.