“流动的痕迹——国际版画艺术展” 正在展出-数艺网

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“流动的痕迹——国际版画艺术展” 正在展出: 2021-10-28

来源：中央美术学院美术馆

流动的痕迹——国际版画艺术展

A Journey Through Printmaking

—International Printmaking Art Exhibition

展览时间：2021年10月20日-11月13日

展览地点：中央美术学院美术馆2层B展厅

Duration: October 20, 2021 – November 13, 2021

Exhibition Venue: 2B Gallery, CAFA Art Museum, Central Academy of Fine Arts, Beijing, China

学术主持：徐冰

策展人：托马斯·吴杨宏伟刘欣怡

Academic Host: Xu Bing

Curators: Tomas Vu, Yang Hongwei, Xinyi Liu

主办：中央美术学院

承办：中央美术学院美术馆

协办：哥伦比亚大学勒罗伊尼曼版画中心

Organized by: China Central Academy of Fine Arts

Presented by: CAFA Art Museum

Supported by: LeRoy Neiman Center for Print Studies, Columbia University

“流动的痕迹——国际版画艺术展”将于2021年10月20日至11月13日在美术馆二层B展厅举办。该展览由中国中央美术学院主办，中央美术学院美术馆承办，美国哥伦比亚大学勒罗伊•尼曼版画中心协办。哥伦比亚大学教授托马斯•吴、中央美术学院教授杨宏伟、艺术家刘欣怡共同担任策展人。将展出来自世界各国逾百件艺术作品，参展艺术家（按姓氏首字母排序）包括塞西莉•布朗、方力钧、艾伦•加拉格尔、古元、威廉•肯特里奇、李桦、奇奇•史密斯、苏新平、萨拉•施、里克力•提拉瓦尼、卡拉•沃克、徐冰等。

The CAFA Art Museum will present A Journey Through Printmaking — International Printmaking Art Exhibition at 2B Gallery from October 20 to November 13, 2021. The exhibition is organized by the China Central Academy of Fine Arts, presented by the CAFA Art Museum, and supported by the LeRoy Neiman Center for Print Studies, Columbia University School of the Arts. Professor Tomas Vu of Columbia University, Professor Yang Hongwei of Central Academy of Fine Arts, and artist Xinyi Liu are the co-curators of this exhibition. More than one hundred artworks from all over the world will be exhibited. Featured artists (listed alphabetically by last name) include Cecily Brown, Fang Lijun, Ellen Gallagher, Gu Yuan, William Kentridge, Li Hua, Kiki Smith, Su Xinping, Sarah Sze, Rirkrit Tiravanija, Kara Walker, Xu Bing, and others.

《恕吼吧，中国！》，李桦，木版单色，27.5×18.7厘米，1938

Roar, China!, Li Hua, Block monochrome printing, 27.5×18.7 cm, 1938

《玉带桥》，古元，木板套色水印，28×31.8厘米，1962

Yudai Bridge, Gu Yuan, Block chromatic watermarking, 28×31.8 cm, 1962

《木月》，奇奇·史密斯，木口木刻，365.8×243.8 厘米，2021

Wooden Moon, Kiki Smith, Wood engraving, 365.8×243.8 cm, 2021

《山中的骡子包》，卡拉·沃克，平版胶印和丝网，99.1×134.6 厘米，2005

Pack Mules in the Mountains, Kara Walker, Offset lithograph and screenprint, 99.1×134.6 cm, 2005

《凤凰图二》，徐冰，版画纸、微电压印刷，39.9×56.8厘米，2014

Phoenix II, Printing paper, Micro Piezo printing, 39.9×56.8 cm, 2014

《荒原3号》，苏新平，铜版画，300×200厘米，2017

Wilderness III, Su Xinping, Drypoint, 300×200 cm, 2017

当我们谈及版画，似乎早已习惯于将版画假定成木版、石版、铜版、丝网版等技法的产物。此次展览，艺术家们将以怀疑者的立场去重新审视、思考与探究版画：

“ 为什么做版画？”

“ 版画于我的意义是什么？”

When we talk about printmaking, we often assume that it is the product of techniques such as woodcut, lithography, intaglio, and silkscreen. In this exhibition, artists will re-examine, re-think, and re-explore printmaking from the standpoint of doubters:

Why do printmaking?

What does printmaking mean to me?

《无题》，塞西莉·布朗，平版胶印，103× 70厘米，2014

Untitled, Cecily Brown, Offset lithograph, 103×70 cm, 2014

《2017》，方力钧，木刻版画，244×122厘米，2017

2017, Fang Lijun, Woodcut, 244×122 cm, 2017

《日落和蓝天：破旧的日落》，尼可拉·洛佩兹，数码喷绘拼贴，54.6×45.7厘米，2019

Sunsets and Blue Skies: Tattered Sunset, Nicola Lopez, Collagraph on digital print, 54.6×45.7 cm, 2019

《希望你在这里III》，托马斯·吴，激光切割拼贴和丝网，76.2×101.6 厘米，2021

Wish You were Here III, Tomas Vu, Laser-cut collage and screenprint, 76.2×101.6 cm, 2021

《城市幽灵三》，王华祥，木版画，92 ×92厘米，2004

Ghost of the city III, Wang Huaxiang, Woodcut, 92×92 cm, 2004

《卡特琳·李1》，约翰·沃克，手工着色照相凹版，59 ×49.5 厘米，2016

Catlin Lee 1, John Walker, Photogravure with hand-coloring, 59×49.5 cm, 2016

本次展览是一场针对所有参展艺术家们的发问，所展出的每件作品都是艺术家们对这些发问的直接或间接的作答。有的艺术家从“版”的概念出发，有的从“板”的构造出发，有的从“印”的动作出发，有的从“刻”的姿态出发，有的从“复数”的语言出发，有的从材料的特性出发。有的在叠加，有的在简化。艺术家们多样的国界、背景、年代势必会为提问带来不同质地的回答，这些答案既将版画掷入一个具有社会性意义的语境，又将关于版画的讨论推恿至：

“ 版画的未来会是什么？”

These are the questions for all participating artists. Every work exhibited is a direct or indirect answer from the artists. Some artists start from the concept of "printmaking," some from the structure of "plate," some from the action of "printing," some from the posture of "carving," some from the language of "plurality," and some from the characteristics of materials. Some do addition, others, subtraction. The diverse backgrounds, cultures, and multiple generations of artists will inevitably bring different answers to these questions. Collectively they not only contextualize printmaking’s social significance, but push discussion to the controversial question:

What will be the future of printmaking?