LOEWE Craft Prize 2026 新加坡

LOEWE（罗意威）｜LOEWE FOUNDATION Craft Prize 2026 入围作品展暨颁奖（展览；第九届，首次在东南亚举办）｜2026-05-13｜新加坡

展览在新加坡国家美术馆 City Hall Wing 地下层的 Imagination Gallery。白墙、白顶、灰色水磨石地面，层高压到三米上下，轨道射灯从头顶斜切下来，作品都落在一人高的视线上。

下来之前要先经过这组建筑：旧最高法院的绿色铜穹顶、科林斯柱和三角山花留在外面；里面是白色中庭、铜色金属包覆的自动扶梯和一段宽木踏步的大楼梯。观众先看完制度，再走进手工。

三十件入围作品来自十九个国家，材料跨陶瓷、木作、纺织、玻璃、金属、漆艺与书籍装帧。展陈没有用统一的白台，作品放在粉、鼠尾草绿、天蓝、赭黄的台座上，高度也不齐。

颜色不是装饰。白盒子会把所有东西拉平，一块颜色反而替作品划出自己的场；高度不齐，观众俯身的角度一直被打断。

获奖的是韩国陶瓷家 Jongjin Park 的《Strata of Illusion》：浸过瓷浆的纸一层层叠起，入窑后纸烧尽，剩下的一体瓷坯因自重塌陷，表面留着纸的折痕。同场还有加纳织工与西班牙设计师合作的《Frafra Tapestry》。

光很克制。轨道灯是暖白，角度压得低，斜着擦过展面，纸的纤维、麻的毛边、釉面的开片才浮出来。多数作品裸展，只靠一条细护栏和地面胶带划界。

展墙是浅色桦木夹板，阳角做了圆弧；展签小而低，贴在台座侧边。灯光回路按展区拆开，方便单件调光。

内容与传播很直接：这个奖没有产品可卖，卖的是物的可信度。可用的画面不是全景，而是材料的中景，断面、接缝、手留下的不规则。彩色台座刚好提供平台上最好用的色块构图。

颁奖放在开幕夜，请来区域内的艺人和嘉宾；展览免费，靠预约和口碑走完一个月。品牌要的不是销量，是这个奖在东南亚的落点。

对案例库来说，这是一个用展陈设计替代舞美的样本：没有装置，没有影像，预算落在台座、灯光和运输上。

The Craft Prize 2026 was installed in the Imagination Gallery on level B1 of the City Hall Wing at National Gallery Singapore: white walls, white ceiling, grey terrazzo floor, the ceiling pressed down to about three metres, track spots cutting in at an angle so that every work sat at eye level. It is a white box, and the works are small.

You pass through the building before you reach them. The old Supreme Court keeps its green copper dome, Corinthian columns and pediment outside; inside are a new white atrium, escalators clad in copper-coloured metal and a wide stair of timber treads. An audience looks at an institution first and at a hand second, and the exhibition leans on that order.

Thirty shortlisted works from nineteen countries and regions covered ceramics, woodwork, textiles, glass, metal, lacquer and bookbinding. There was no uniform white plinth. The pieces sat on coloured bases, pink and sage and sky blue and ochre, at heights that deliberately refused to match.

The colour was not decoration. A white box flattens everything it holds; a block of colour gives each object a field of its own. The mismatched heights keep interrupting the angle at which you bend toward a piece, so that looking becomes a series of small adjustments rather than a single sweep. The result is a room that behaves like a colour chart and reads like a workshop.

The prize went to Jongjin Park, a Korean ceramicist, for Strata of Illusion: sheets of paper coated in porcelain slip, stacked, then fired until the paper burned away and the single ceramic body slumped under its own weight, keeping the folds and compressions of the paper on its skin. A special mention went to Frafra Tapestry, made by the Baba Tree weavers of Ghana with the Spanish designer Alvaro Catalan de Ocon.

Light was restrained. Track spots ran warm white and were aimed low, raking across each surface so that paper fibre, the raw edge of hemp and the crackle in a glaze came up out of the material. Most works stood unprotected except for a thin rail and a line of tape on the floor; there were very few cases.

Walls were pale birch ply with rounded corners, labels small and set low against the side of each plinth, the floor protected with lino in a matching tone. Circuits were split by zone so that single pieces could be adjusted.

Communication follows from this directly. The prize has no product to sell; what it sells is the credibility of objects. The pictures that work are not wide shots but middle-distance studies of material, a cut edge, a seam, the irregularity a hand leaves behind. The coloured plinths supply exactly the blocks of colour that social platforms reward, and they do it without a graphic layer.

The award was given on opening night, with regional musicians and guests in the room, which handed media a second entry point beyond the works themselves. The exhibition was free and ran on booking and word of mouth for a month.

For a case library this is an example of exhibition design standing in for scenography. There is no installation and no video; the budget sits in plinths, light and freight, and the room is carried by the objects.

Source: public information published by lamodeenimages.

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