展覽開幕▼
Opening ceremony
“從東到東”當代版畫交流展——2021中國(寧波北侖)中東歐青年藝術周主題展覽,6月11日于寧波北侖區文化館藝術空間開幕。
"From East to East" Contemporary Printmaking Art Exchange Exhibition——Thematic Exhibition of 2021 China CEEC Youth Art Festival, was opening on June 11 in the Art Space of Ningbo Beilun Cultural Center.
中共寧波市北侖區委常委,宣傳部部長龔國文致歡迎辭▲
Mr. Gong Guowen,Member of the Standing Committee of the CPC Ningbo Beilun District Committee,Minister of Publicity Department of Beilun District, welcome speech
策展人發言▲
The speeches of curators
策展人阿薩杜爾·馬克洛夫現場導覽▲
Exhibition guide of curator Assadour Markarov
策展人劉穎現場導覽▲
Exhibition guide of curator Liu Ying
策展人與寧波中國港口博物館副館長陳衛立▲
The curator with China Port Museum Vice Director Chen Weili
策展人與藝術家俞啟慧溝通▲
Discussion between curator and artist Yu Qihui.
藝術家俞啟慧接受采訪▲
Interview with the artist Yu Qihui
展覽策劃溝通▲
Exhibition process
展覽前言▼
整個項目概念旨在展示國家、民族與人民間的聯系,用一根無形的“線”連接不同的文化、社會和地區,通過絲綢之路這一脈絡展示亞洲與中歐和東歐地區國家之間的文化聯系。中東歐國家和中國之間存在一種無形的交流方式,它牽動著文化的融合,促進了人們的溝通,同時也認可和吸納了新的思想。
來自不同地區的當代藝術家們,通過獨特的藝術手段和方式,包括版畫和藝術裝置,在作品中展現了各自的文化特色和藝術風格,匯集在此次展覽中,變為一幅世界圖景。
“從東到東”展覽通過創造一條交流之“鏈”,使得跨越國籍、身份、性別、年齡的觀眾,感受色彩和畫面的視覺審美;在當代藝術世界中,感受相系的彼此。
當代版畫作為一種藝術作品,對它的理解一直備受考驗,因為藝術的界限正在不斷被打破、跨越、模糊和融合。其歷史令人興奮,因為不久前,藝術家、理論家,尤其是藝術市場,還認為它是一門只為少數人保留的學科。這種認識與版畫的歷史淵源、傳統技法和掌握程度有關,在 19世紀60年代之前都是被認可的,而波普藝術和攝影的出現使得版畫領域中傳統親筆畫法受到質疑,從而絲網印刷引入到了版畫藝術的創作中。
在藝術界,版畫有其獨特而決定性的歷史影響,自15世紀以來在視覺藝術領域一直占據著一席之地。早在文藝復興時期,藝術家們就通過版畫在世界范圍內傳播他們的思想和作品,版畫的圖像能夠成倍印制,因而與人們建立了更廣泛的聯系。
據信在公元105年左右,中國可能已經有了一種最原始的印刷形式,稱為拓印。為了記錄和研究經文,人們把文字和圣像雕刻在平坦寬闊的石板上。之后誕生了雕版印刷,其原理是將濕紙壓制成型,制成突出的陽文,涂上墨汁并附上紙張,輕拂紙背,字跡就顯現出來了,這種把文字和圖像結合起來的方法是印刷術的基礎。絲網印刷工藝也起源于中國宋代的某個時期,然而它在 19 世紀才在西方藝術家手中成為一種流行的媒介。絲網印刷是一種技術,用一塊網制版,利用刮板透過網孔轉移油墨,形成圖像。在1939年的紐約世界博覽會上,它首次作為一種美術技法被引入到絲網版畫中。
來自中國和中東歐的參展藝術家們,以及他們的一百多件紙質作品,在不斷地追問藝術創作的概念,以及當代版畫中技術、媒介、工藝和關聯性的藝術特征。版畫在中東歐國家本身就是一個特別的存在,展覽通過聚焦這些國家更加展示了它的獨一無二之處。中歐和東歐不論從文化還是地區分布上都是兩個極為不同的空間,例如匈牙利,阿爾巴尼亞,羅馬尼亞,拉脫維亞和保加利亞的文化淵源在種族之間并沒有太多共通之處。雖然他們的語言和文化傳統都是彼此分離的,但相同的文化經歷將所有中歐和東歐國家團結在一起,這種地方問題也使他們與世界其他地區區分開來。通過這些藝術探索的實例,這場展覽也展示了出對該地區的敏銳嗅覺,它可能會撼動版畫的穩定地位,或至少可以促進版畫在中東歐國家的重估。它將研究的范圍拓展到地理區域,比當代版畫通常的研究網絡更為廣闊,并提供了版畫自誕生以來的一幅更為完整的發展圖景。為了制作版畫,藝術家們在金屬、木頭或其他材料上繪制,以此孕育新的圖像。然而,隨著當代藝術創作中數字技術的泛濫,我們看到了一種回歸版畫媒介最初原則和過程的趨勢。參展的藝術家們都尊重了版畫的基本原理,同時作品也反映出版畫媒介和載體的發展如何激發和改變了藝術實踐,為觀眾提供了一個鮮為人知的視角,來發覺版畫中的機遇。本次展覽的藝術作品從絲網版畫到石版畫,從木刻版畫到四色版畫,從原作版畫到獨幅版畫,以及美柔汀、塵蝕版畫和麻膠版畫,應有盡有。
來自各個國家的參展藝術家們都是創新者,他們的創作實踐不僅融合了自身的地理環境和文化傳統,更吸收了國際潮流。如今,藝術家們更加專注于作品與質感、項目與定位、圖像與留白、語境與媒介之間的關系。
“從東到東”國際版畫交流展,以及致力于當代文化的各種節日和活動,相比藝術博覽會而言,為評估當代版畫領域的現狀和脈搏提供了一個更好的平臺,同時也為相關藝術理論的論述創造了良好的機遇。
阿薩杜爾·馬克洛夫
杭州
2021 年 6 月
Preface▼
The idea and concept of the whole project is to show the links between nations and people,different cultures and societies and their cultural ‘threads’ linking and connecting one state to another. This exhibition has the intent to demonstrate the cultural links between Asia and countries from Central and Eastern European region through the Silk Road. There is an invisible way of communication from Central and Eastern European countries to China, which has had a huge impact on the integration of communication between people and cultures, which endorses new ideas.
Through a distinctive use of artistic techniques including printmaking and art installations contemporary artists from different countries and regions from Central and East Europe and China will show their own cultural characteristics and artistic style. All these gathered in this exhibition, become a linkage and map of the world.
The exhibition “From East to East” aims to create a ‘link’ of communication, enabling audiences across nationalities, identities, genders and ages to experience visual aesthetics of colors and images; to feel the connection with each other in the contemporary art world.
The understanding of contemporary printmaking as a production of art is generally constantly being tested, since the boundaries of art are being merged, crossed, blurred and erased in front of our eyes. The history of contemporary printmaking is quite exciting, as it is not long ago that it was considered by artists, theorists and most notably the art market, to be an alchemical discipline reserved for only a select few. Such treatment, linked to the historical origin of printmaking, its relation to traditional printmaking techniques and mastery, was legitimate up till about the 1960s, when it was put into question by the appearance of pop art and photography radicalized traditional autographic approaches to the field the introduction of screen-printing in the production of the printmaking as art.
Printmaking has a distinct and decisive history in the world of art, and has been in existence as a recognizable field of visual art since the fifteenth century. Formerly the Renaissance, prints have enabled artists to disseminate their ideas and works throughout the world, since the capacity of printing to produce multiplied images, established a communication with a wider circle of people.
It is believed that the Chinese may have produced a primitive form of print, called a rubbing, around 105 AD. To aide Chinese scholars in the study of their scriptures, texts and holy images were carved into large, flat stone slabs. After the designs were incised, damp paper was pressed and molded so the paper was held in the incised lines. Ink was applied and paper was removed. White lines appeared on a black background. This technique was the foundation of printing. This method of combining text and image is called block book printing. While the process of screen-printing originated also in China sometime during the Song Dynasty, screen - printing (serigraphy) became a popular medium for Western artists in the nineteenth century. Screen-printing is a technique that uses a woven mesh to support an ink-blocking stencil. The stencil forms open areas of mesh that transfer ink which then can be pressed through. A squeegee is moved across the screen stencil, forcing ink past the threads of the woven mesh in the open areas. It was introduced as a fine art technique for the first time with an exhibition of serigraphs at the New York World’s Fair in 1939.
The artists presented on the show, with the more than one hundred artworks on paper from both China and Central and Eastern Europe too are constantly inquiring about, not only the concepts of artistic creation, but also the characteristics of the techniques, mediums, processes and relations within the art of contemporary printmaking. By focusing on the countries in the Central and Eastern Europe, where printmaking has a distinctive presence, this show is unique. Central and Eastern European cultural space and as a region is extremely heterogeneous, the ethnic roots, for example of Hungarian, Albanian, Romanian, Latvian and Bulgarian cultures have not so much common between. Their languages and cultural traditions do not unite them, but separate from each other and only one thing, one cultural experience unites all Central and East European countries – the experience of local issues, which also differentiates them from the other world. This show also demonstrates alertness to a region that provides examples of art practice which has the capacity to destabilize, or at least prompt re-evaluation of assumptions of the printmaking held in East European countries. It casts the net of research across wider geographical areas than those usually accommodated in contemporary print studies and provides a more complete picture of printmaking as it has evolved since its beginning. To make a print, the artist draws on metal, wood or another material to create an image. This plate or block with the image on it is called the matrix. With the flood of the digital in contemporary art production, however, we are seeing a growing tendency towards a return to the original principles and processes of the printmaking medium. The artists represented all respect fundamental tenets of printmaking and the works shown on exhibition is a reflection on how the developments of media in printmaking have stimulated and changed the artistic practice, offers to viewers the opportunity to discover a lesser-known aspect of the artist’s work – printmaking. The artworks on the exhibition presents everything from screen-prints to lithographs, from woodcuts to four-color prints, from original prints to monoprints, mezzotint, aquatint and linocuts.
Artists selected for the exhibition from these countries are all innovators whose geographical circumstances and creative praxis drew on local traditions whilst absorbing international trends. Today, the artists in this exhibition pay more attention on quality, on project orientation, on space between the image and the void, the context and the medial function.
The international exchange printmaking exhibition “From East to East” and various festivals devoted to the contemporary culture are, much more so than fairs, the best place to evaluate the state and pulse within the field of contemporary printmaking, whilst also being a good opportunity for theoretical discourse on art.
Assadour Markarov
Hangzhou
June 2021
關于展覽▼
About Exhibition
此次共有來自中國和10個中東歐國家的28位藝術家參加展覽,共展出了82件版畫作品。
In the whole exhibition was presented 28 artists from 11 countries from China and Central and Eastern Europe with 82 artworks.
參展藝術家▼
Artists represented
邵克萍、俞啟慧、魏惠東、艾米利亞·佩蘇、艾瑞娜·茲尼耶維奇、安卡·波艾利歐、安娜·維沃達、奧萊西亞·朱拉耶娃、奧維迪烏·克羅伊圖魯、巴特洛米·米哈爾斯基、布蘭科·尼科洛夫、達沃·德米特羅維奇、德西斯拉娃·克里斯托娃、德西斯拉瓦·昂格、基里亞科斯·庫蘇利德斯、卡羅琳·科恩茲、羅森·托舍夫、瑪麗加·馬塞利奧尼特、尼科斯·吉塔基斯、帕沃爾·魯斯科、帕維爾·塞爾科斯基、莎莎·潘西奇、斯蒂芬·博茲科夫、因加·希亞吉、約瑟夫·巴朱斯、瓦列里·查卡洛夫、佐蘭·米西、瑪麗亞·甘尼娃
Shao Keping Yu Qihui Wei Huidong Emilia Persu Irena Zieniewicz Аnca Boeriu Ana Vivoda Olesya Dzhurayeva Ukraine Ovidiu Croitoru Bartlomiej Michalsk Branko Nikolov Davor Dmitrovic Dessilava Hristova Desislava Unger Kyriakos Kousoulides Caroline Koenders Rossen Toshev Marija Marcelionyte Nikos Gyftakis Pavol Rusko Pavel Celkoski Saša Pančic Stefan Bojkov Inga Heamägi Jozef Bajus Valery Chakalov Zoran Mishe Maria Ganeva
作品介紹▼
Artworks
邵克萍Shao Keping(中國China)▼
《魯迅先生畫像》
水印木刻
15.5 x 11 cm
1947年
Portrait of Mr. Lu Xun
Wood block print
15.5 x 11 cm
1947
《百舸爭流寧波港》
水印木刻
30 x 56 cm
1979年
Hundred barges competing for Port of Ningbo
Wood block print
30 x 56 cm
1979
俞啟慧Yu Qihui(中國China)▼
《力士與菩薩/瑰寶:Ⅲ》
水印彩拓版畫
40 x 55 cm
1992年
Treasure III: Warrior and Bodhisattva
Watercolour woodblock print in ink and colour on paper
40 x 55 cm
1992
《多面佛像/瑰寶:Ⅱ》
水印彩拓版畫
40 x 55 cm
1992年
Treasure II: The Multi-faced Guanyin
Watercolour woodblock print in ink and colour on paper
40 x 55 cm
魏惠東Wei Huidong(中國China)▼
《當莊子遇見當下》
水印綜合版
72 x 142 cm
2018年
When Chuang Tzu meets the present
Water mixed print
72 x 142 cm
2018
《生命的枷鎖》
版畫
111 x 149 cm
The chains of life
Printmaking
111 x 149 cm
艾米利亞·佩蘇Emilia Persu(羅馬尼亞
Romania)▼
《印象01》
獨版印刷
50 x 38 cm
2020年
Impression01
Monoprint
50 x 38 cm
2020
艾瑞娜·茲尼耶維奇Irena Zieniewicz(波蘭Poland)▼
《他們稱她為勝利》
絲網印刷
70 x 50 cm
They called her victory
Screen print
70 x 50 cm
安卡·波艾利歐Anca Boeriu(羅馬尼亞Romania)▼
《愛和保護 1》
金屬版印刷
40 x 30 cm
2020年
Love and protection 1
Metal print
40 x 30 cm
2020
安娜·維沃達Ana Vivoda(克羅地亞Croatia)▼
《清晨的碎片II》
干刻版畫
99 x 92 cm
2019年
Fragments of morning II
Dry point, sugar lift
99 x 92 cm
2019
Olesya Dzhurayeva Ukraine奧萊西亞·朱拉耶娃(烏克蘭Ukraine)▼
《把我的天空染成藍色8》
麻膠版畫
100 x 70 cm
Blue my sky 8
Linocut
100 x 70 cm
Ovidiu Croitoru奧維迪烏·克羅伊圖魯(羅馬尼亞Romania)▼
《動物寓言01》
木刻
29 x 25 cm
bestiary 01
Woodcut
29 x 25 cm
巴特洛米·米哈爾斯基Bartlomiej Michalski(波蘭Poland)▼
《圣柱循環》
麻膠版畫
55 x 39.5 cm
Matzevah cycle
Linocut
55 x 39.5 cm
布蘭科·尼科洛夫Branko Nikolov(塞爾維亞Serbia)▼
《反射 2》
數碼印刷
100 x 70 cm
Reflections 2
Digital print
100 x 70 cm
達沃·德米特羅維奇Davor Dmitrovic(克羅地亞Croatia)▼
《你想如何被銘記》
數碼版畫
35 x 59 cm
How would you like to be remembered
digital
35 x 59 cm
德西斯拉娃·克里斯托娃Dessilava Hristova(保加利亞Bulgaria)▼
《可能的現實II》
絲網版畫
125 x 70 cm
2015年
A possible reality II.
Silkscreen
125 x 70 cm
2015
德西斯拉瓦·昂格Desislava Unger (保加利亞Bulgaria)▼
《抵抗-存在 1》
木刻、日本紙
50 x 100 cm
2015年
Resistance -existence 1
Woodcut on Japanese paper
50 x 100 cm
2015
基里亞科斯·庫蘇利德斯Kyriacos Kousoulides (希臘Greece)▼
《“來自理想主義的回憶”系列四》
傳統木刻、雕版、透明樹脂
21 x 29.7 cm
"Memories From Idealism" Part 4
Traditional Woodcut, Engraving, Transparency Resin
21 x 29.7 cm
卡羅琳·科恩茲Caroline Koenders(希臘Greece)▼
《海-1》
綜合版畫,美柔汀、照片蝕刻、線蝕刻
75 x 45 cm
2012年
Thalassa-1
Mixed printing. Mezzotint, photo-etching and etching
75 x 45 cm
2012
羅森·托舍夫Rossen Toshev(保加利亞Bulgaria)▼
《船》
C-Print
33 x 56 cm
2021年
Boats
C-Print
33 x 56 cm
2021
瑪麗加·馬塞利奧尼特Marija Marcelionyte(立陶宛 Lithuania)▼
《證據3》
照相凹版
57 x 63 cm
2021年
Evidence 3
Photopolymer gravure
57 x 63 cm
2021
尼科斯·吉塔基斯Nikos Gyftakis(希臘Greece)▼
《我剛剛去沖浪了II》
石版畫、鉛筆、紙上標記、舊照片
46 x 66 cm
I just went surfing II.
Lithography, Pencil, marker on paper, old photograph
46 x 66 cm
帕沃爾·魯斯科Pavol Rusko(斯洛伐克Slovakia)▼
《紀念品Ⅰ》
計算機版畫
50 x 70 cm
2021年
Souvenir I.
computer graphic
50 x 70 cm
2021
帕維爾·塞爾科斯基Pavel Celkoski(馬其頓Macedonia)▼
《男人和海》
干刻版畫
70 x 100 cm
The man and the sea
Dry point
70 x 100 cm
莎莎·潘西奇Saša Pančić(塞爾維亞Serbia)▼
《姿態 Y》
絲網版畫
50 x 35 cm
GEST Y
Screen printing
50 x 35 cm
斯蒂芬·博茲科夫Stefan Bozhkov(保加利亞Bulgaria)▼
《狩獵季開始II》
石版畫
69 x 47.5 cm
THE HUNTING SEASON BEGINS II
Lithography
69 x 47.5 cm
因加·希亞吉Inga Heamägi(愛沙尼亞Estonia)▼
《“愿我的禱告在你面前如香……(詩篇 141:2)”.I》
噴墨印刷
70 x 100 cm
2018年
“Let my prayer arise as incense before thee… (Psalm 141:2)”.I
Giclée Print
70 x 100 cm
2018
Jozef Bajus約瑟夫·巴朱斯(斯洛伐克Slovakia)▼
《辛克萊女孩系列#2》
絲網印刷、裁剪、綜合媒介
70 x 50 cm
2021年
Sinclair Girls series #2
Silkscreen on paper, cutouts, Mixed media
70 x 50 cm
2021
瓦列里·查卡洛夫Valery Chakalov(保加利亞Bulgaria)▼
《病情記錄III》
Collagraphy
50 x 70 cm
2016年
Record of the condition III
Collagraphy
50 x 70 cm
2016
佐蘭·米舍Zoran Mishe(馬其頓Macedonia)▼
《堅不可摧的精神圖騰II》
線蝕版畫
65 x 95 cm
2020年
Totem unbreakable spirit II
Ink on paper, Etching
65 x 95 cm
2020
瑪麗亞·甘尼娃Maria Ganeva(保加利亞Bulgaria)▼
《我的號碼 1》
絲網版畫
70 x 50 cm
2016年
My number 1
Silk screen print
70 x 50 cm
2016
展覽現場▼
Exhibition View
展覽信息▼
The Exhibition
日期:2021.06.11-2021.06.25
地點:寧波北侖區文化館藝術空間
Date:2021.06.11-2021.06.25
Site: Art Space of Ningbo Beilun Cultural Center
總策劃:阿薩杜爾·馬克洛夫
特邀策展人:劉穎
策展總助理:任喆
Chief Curator:Assadour Markarov
Invited Curator:Liu Ying
Assistant Curator:Ren Zhe
主辦:寧波市文化廣電旅游局 寧波市北侖區人民政府
承辦:寧波市北侖區文化和廣電旅游體育局
協辦:寧波市北侖區文化館 寧波中國港口博物館 浙江森凡文化
Host:Ningbo Municipal Bureau of Culture, Radio, Television and Tourism
People's Government of Beilun District
Undertaker:Beilun Culture, Broadcast, TV, Tourism& Sports Bureau of Ningbo
Co-host:Ningbo Beilun Cultural Center
China Port Museum
Zhejiang Sevan Culture and Technology Co., Ltd.