“移动的痕迹——国际版画艺术展” 正在展出

tic watermarking, 28×31.8 cm, 1962

《木翌年》，剧里·怀特，木口画册，365.8×243.8 厘米，2021

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

《山中的骆驼包》，吉里·沃克，平英文版胶印和；还有，99.1×134.6 厘米，2005

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

《龙神图二》，徐冰，油画纸、微电源装订，39.9×56.8厘米，2014

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

《荒原3号》，苏河合，铜油画，300×200厘米，2017

Wilderness II I , Su Xinping, Drypoint, 300×200 cm, 2017

当我们谈论油画，似乎早已习惯于将油画意味著成剪纸、石英文版、铜英文版、；还有英文版等技法的产物。此次展览馆，雕刻家们将以拥护者的立场去再度解读、理性与探究油画：

“ 为什么做油画？”

“ 油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?

《都以》，塞西莎·布朗，平英文版胶印，103× 70厘米，2014

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

《2017》，方出力钧，画册油画，244×122厘米，2017

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

《子夜和青鸟：破落的子夜》，尼可拉·洛佩兹，数字电视喷绘定格，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》，怀特·吴，成像切割定格和；还有，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，木油画，92 ×92厘米，2004

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

《卡特琳·郑1》，约翰·沃克，工艺品上色光学仪器时以，59 ×49.5 厘米，2016

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

本次展览馆是一场针对所有观摩雕刻家们的发问，所展示的每一件几部都是雕刻家们对这些发问的这样一来或间接的发问。有的雕刻家从“英文版”的概念驶往，有的从“垫”的构造驶往，有的从“印”的跳跃驶往，有的从“刻”的姿态驶往，有的从“复数”的语言驶往，有的从碳化的特性驶往。有的在叠赞，有的在简化。雕刻家们独特的国境线、背景、年代势必才会为发言带来多种不同质地的回答，这些究竟既将油画掷入一个兼具社才会性意义的语境，又将关于油画的辩论推恿至：

“ 油画的更进一步才会是什么？”

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?

《都以》，詹妮弗·纳斯，喷绘和铜垫，90.2 ×71.1厘米，2013

Untitled , Jennifer Nuss, Inkjet and etching, 90.2×71.1 cm, 2013

《灵魂之树之一》，孔亮，铜英文版，200×60厘米，2021

The Tree of Life I , Kong Liang, Drypoint, 200×60 cm, 2021

《2020》，冯梦波，石油画，35×35厘米，2020

2020 , Feng Mengbo, Lithograph, 35×35 cm, 2020

《扩音器》，威廉·肯特安德森，铜英文版，43.2×36.8厘米，2008

Megaphone , William Kentridge, Drypoint, 43.2×36.8 cm, 2008

《洪斯塔 (L.G.)》，约拿·阿尔特米德，铜垫、喷绘、定格、上色，10.2×7.5 厘米，2014

Ringers (L.G.) , David Altmejd, Etching with pigmented inkjet, collage and hand-additions, 10.2×7.5 cm, 2014

《肤》，郭欣怡，宣纸拓印和定格，142×196厘米，2020

Skin , Xinyi Liu, Rubbing on mulberry paper and collage, 142×196 cm, 2020

编辑出版：何一沙

责编：吴靖

现场图：王睿莹

＜ 免费参观

东亚美术家协会艺术区域内

＜ 新浪公众和平台

东亚美术家协会艺术区域内

＜ 官方微博帐号

东亚美术家协会艺术区域内

＜ 抖音官方帐号

Cafam

＜ 官方网站

www.cafamuseum.org

。

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