异枝同根：
美国-俄罗斯当代版画作品展
BRANCHES FROMTHE SAME TREE
CONTEMPORARY RUSSIAN AND AMERICAN PRINTMAKING EXHIBITION
展览时间 Exhibition Dates：
2020.12.12 - 2020.12.31
开放时间 Opening Hours：
10:00-17:00 （周二闭馆 Closed on Tuesday）
展览地点 Exhibition Place：
中国版画博物馆3号展厅
Exhibition Hall 3, China Printmaking Museum
主办单位 Organizer：
中国版画博物馆
China Printmaking Museum
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前言
Preface
此次的异枝同根：美国-俄罗斯当代版画作品展”同时展出了来自两个截然不同国家的版画作品，这种展览模式在中国并不多见。它不仅向我们展示了艺术家个人与其艺术传承之间的复杂关系，也在某种程度上探讨了艺术家群体在社会中所扮演的角色。此次展览的两位策展人分别来自美国和俄罗斯，在展览的策划中，两位策展人共同挑选了一批在技法上和观念上都各有侧重的作品，这些作品都在某个侧面展示了我们所属版画群体的特性和活力。
This exhibition showcases the prints of two diverse countries is the first of its kind in China. It explores the complex relationship individuals have with their artistic heritage and in some cases their role in society. The co-curators, friends—one American the other Russian—chose work that is varied both technically and conceptually, each displaying some aspect of the vibrant print communities in which they live and work.
几个世纪以来，版画在美国和俄罗斯这两个国家都得到了蓬勃的发展。在俄罗斯，凹版画出现于彼得大帝时期，并与欧洲版画同步发展。自19世纪，使用铜版技法印制的书籍插画广为流传，而这一重要的技法也一直传承至今。到苏联时期，艺术家之家”成立了。这个组织将来自联盟内各个国家的包括版画家在内的各类艺术家汇聚在一起，并且鼓励艺术家们共享创作技巧和想法。近几十年来，全球艺术家之间的交流与沟通比以往任何时候都更加频繁、密切。20世纪90年代，俄罗斯艺术家之家”塞内兹分部（位于莫斯科郊外）与美国新泽西州立罗格斯大学（我曾在该大学担任教授）之间发起了一次特殊的版画交流活动。短短几年的时间里，共有9位俄罗斯艺术家前往美国的新泽西州交流，9位美国艺术家前往俄罗斯的艺术家之家”塞内兹分部学习。艺术家们通过体验对方的文化，加深了对彼此文化的了解，建立了深厚友谊，也交流了版画知识，而这种形式的交流活动后来也在两国得到了大力地支持与发展。
Over the centuries, printmaking, or the graphic arts, has flourished in both countries. In Russia, intaglio printmaking appeared in the era of Peter the Great and developing in parallel with Europe. In the 19th century the illustration of books using steelengraving became widespread and an important movement that continues today. During the Soviet era House of Artistswasinitiated which brought artists from various republics togetherin all art fields, including printmaking, and encouraged shared techniques and ideas. In recent decades there has been more interchange between artists across the globe than ever before.One particular exchange between Russia and the United States started in the 1990’s between the House of Artists Senezh, outside Moscow and Rutgers University, where I was formerly a Professor. Nine Russian artists went to New Jersey and nine American artists went to the House of Artist Senezh on separate trips over the course of a few years. Experiencing each other’s cultures allowed for a deeper level of understanding and built friendships as well as shared printmaking knowledge. Other examples of this type of exchange has continued to flourish in both countries.
在美国，版画主要是沿着商业路线发展的，如杂志插图和工业印刷行业。19世纪以来，木版、凹版和平版技法开始逐渐成为艺术的焦点。在美国经济大萧条时期，为振兴经济，公共事业振兴署（WPA）在1935年得以成立。随着该机构的成立，印刷行业为艺术家们创造了更多的就业机会和谋生手段，美国版画由此复兴。第二次世界大战后，美国一跃成为创造力的大熔炉，无数的艺术家开始在石版和凹版技法方面进行试验，随后转向丝网版。许多来自不同国家或地区的艺术家来到美国，为美国的版画创作带来了崭新的视角，丰富了美国的艺术对话与交流，提高了艺术家对版画制作的兴趣，同时也开创了艺术家与版画技师跨界合作的新局面。
In the United States, printmaking developed mainly along commercial lines –illustration of magazines and printing for industry—but in the 19th century wood engravings, intaglio prints, and lithographs took on an artistic focus. It was the Great Depression however, with the founding of The Works Progress Administration (WPA) in 1935, that printmaking had a renaissance by creating jobs for artists that enabled them to make a living. After World War II, the US becamea melting pot of creativity, with countless artists experimenting first in lithography and intaglio printing and later in screen printing. Artists from other countries came to the United states bringing fresh viewpoints that informed the art conversation and many of them, interested in making prints, helped create the widespread practice of working with master printmakers that is prevalent today.
版画系在艺术院校中茁壮成长，版画创作者也能在私人版画工作室获得工作的机会，这些原因使得版画在美俄两国均取得了令人瞩目的发展。事实证明，无论在学术上还是在对艺术的了解层面，这些版画之间的交流能够使我们既能以版画创作者的身份、也能以个人身份团结起来。俄罗斯与美国都有着悠久且多元的社会文化，这给当今的版画艺术实践带来了不同的视角和表达。本次展览挑选了类型不同、尺寸各异、技法不一的版画作品（包括大型的木版画），展示了从具象到抽象，以及对周遭世界描绘的不同风格的作品。展览中除了部分版画作品采用了包括数字技术在内的新技术，许多作品显示出对发展了几百年的传统技法的传承。石版画起源于1878年，至今仍在石灰石上进行创作；照相制版发展于19世纪50年代，至今仍在铜版上印制。艺术家们利用不断发展的工业技术来满足他们对创作的需求。
Printmaking continues to have an impressive development in both countries, with strong printmaking departments in art schools, as well as the opportunity to work in private printmaking ateliers.What is proven is that the meeting of people in scholarship and in the understanding of art allows us to unite as fellow creators and individuals. Russia and America have long and culturally diverse societies which bring different voices and expression into current contemporary art practice. This exhibition shows the diversity of styles, from storytelling to abstraction to depictions of the world around us in a wide array of graphic techniques in all shapes and sizes, including large scale woodcuts. Other prints in the exhibition utilize new techniques that include digital technologies while others practice techniques that were invented centuries ago; lithography invented in 1878 and still done on limestone and photogravure, developed in the 1850’s, and still printed today from copper plates.Artists continue to utilize all aspects of industrial technologies to suit their needs.
艺术是国与国之间的桥梁和粘合剂，没有艺术，这种关系就不完整了。此次展览的主题是异枝同根”，借以代表我们作为不同地域的同类艺术家所感受到的亲密感。无论地理或政治差异如何，当我们代表版画工作室站在媒体面前，直面自己的创作瓶颈和阻碍时，我们都是一样的。我们面临着同样的挑战——紧张的时间、短缺的材料、阻滞的灵感——而我们每位艺术家都需要通过版画来描绘和表达于我们而言弥足珍贵的东西。于此，艺术家是我们多元文化的代言人。此次展览对于艺术家和艺术观者来说，没有什么比艺术体验的共享更能增进彼此之间的相互理解。
When it comes to the relationship between great peoples, that relationship is not complete without the arts. The title of this exhibition, Branches from the Same Tree, was chosen to represent the closeness we feel as kindred artists, no matter the geographic or political differences, because we are the same people when we stand in our studio, in front of the press, facing own creative demons. We have the same challenges — time, materials, inspiration — and each of us use the graphic arts to express what means the most to us. Artists are the voice of our varied cultures and nothing promotes understanding more than shared experiences like this exhibition, both for the artists and the viewers.
策展人/林·艾伦
美国波士顿大学教授
Prof. Lynne Allen
Boston University, USA
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部分作品欣赏
Appreciation of some works
Refugees 避难者
Beth Grabowski 贝丝·格拉博夫斯基
Photopolymer gravure 照相制版
38×38cm丨2019丨美国
Louis Agassiz路易士·阿格西
Carson Fox 卡尔森·福克斯
manipulated pigment print 数码版
20×20cm丨2020丨美国
Snake and Vine 蛇与葡萄藤
Emily Arthur 艾米丽·亚瑟
screen print on Arches 88 paper 丝网版
38.1×27.9cm丨2011丨美国
Motel Six6号汽车旅馆
Emmett Merrill 埃米特·梅里尔
Color Lithograph on BFK Tan 石版
76.2×55.9cm丨2020丨美国
Train to Madrid 开往马德里的火车
Alexey Veselovsky 阿列克谢·维瑟洛夫斯基
Gumbichromate print on Fabriano Tiepolo paper 重铬酸胶照相制版
100×70cm丨2019丨俄罗斯
Choir Boy唱诗班男孩
John Buck 约翰·巴克
Woodblock木版
94×152.4cm丨2011丨美国
Quaestio de aqua et de terra 水土论
Ekaterina Smirnova 叶卡捷琳娜·斯米尔诺娃
color lithography 石版
100×70cm丨2019丨俄罗斯
Blue parrot 蓝色鹦鹉
Natalia Sineva 娜塔利娅·辛内娃
Color lithographs 石版
89×65.5cm丨1992丨俄罗斯
1Echolocation I 回声定位
Nikon Filippov 尼康·菲利波夫
Serigraphy 丝网版
70×50cm丨2020丨俄罗斯
Sea Suite II海洋组曲2
Vasily Vlasov 瓦西里·弗拉索夫
lithographs 石版
55×75cm | 1989丨俄罗斯
编丨厉亦平ZYJ
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