流光溢彩的艺术个性|品中欧与东欧版画的美妙复调

深层对话

中欧与东欧版画作品展

INTERLOCUTION

PRINTMAKING IN CENTRAL AND EASTERN EUROPE

策展人 Curators：

维力科·马瑞彻夫斯基 Veliko Marinchevski

艾丽莎·特泽娃 Elitsa Terzieva

展览日期 Exhibition Dates：

2020.12.28-2021.1.18

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2号展厅

Exhibition Hall 2,China Printmaking Museum

主办单位 Organizer：

中国版画博物馆 China Printmaking Museum

前言

Preface

中国版画博物馆自落成运营的六年来，已成为国际上一流的版画展览举办场所、它立足全世界，在版画艺术的展示、传播和收藏上是独一无二的高端平台，也是连接版画艺术过去和未来的纽带。

In the six-year history since its foundation, the China Printmaking Museum has established itself as a platform without analogue in its activity in the world - the promotion, support and collection of first-rate graphic art.And as a bond between the past and the future.

这个平台上有观澜国际版画双年展和观澜版画原创产业基地相关活动，此次我们有幸在此举办中欧与东欧版画作品展，在中国版画博物馆展览团队的鼎力支持下，此次展览共挑选并展出了来自20位艺术家的71幅版画作品，希望中国观众能一睹中欧和东欧版画在艺术上的不同追求、并由此看到他们在艺术上的成就与贡献。

The current exhibition is yet another opportunity - beyond the Guanlan International Printmaking Biennial, which has established itself as a number one venue, and the related activity with the Guanlan Printmaking Base – for yet another look, both familiar and different, at printmaking in Central and Eastern Europe – quests, achievements and contributions. With the help of the managementof China Printmaking Museum, a selection of 20authors and 71works has been presented.

策展人/维力科·马瑞彻夫斯基

Curator/Veliko Marinchevski

来自中/东欧顶尖版画流派的标志性作品将在中国版画博物馆的艺术殿堂精彩呈现，并透过作品本身向观者展现其强大的艺术魅力。

The mighty artistic presence of signature representatives of the leading printmaking schools in Central and Eastern Europe is being unfolded in the emblematic spaces of the China Printmaking Museum.

这些具有磁石般吸引力且富有创造光芒的共鸣复调，清晰地勾勒出了个体的审美世界观，并以有机和谐的方式呈现出来。一个人从造物到造物主的原始追求在这个统一的领域中得以以最纯粹的形式体现。

The resounding polyphony of these magnetic creative auras, in which the individual aesthetic worldview is distinctly delineated, is in organic harmony. The primordial striving of the person to turn from a creation into creator is materialized in its purest from in this field of unity.

欧洲版画大师们踏进了中国人的精神世界，而这精神世界与传统仍保有紧密的联系。其所呈现的生命力一方面来自上千年的文化积累，另一方面也来自对其他地理区域的艺术成就的深刻解读能力。东方的文化底蕴及哲学思想与20世纪西方艺术家所带来的特殊艺术吸引力遥相呼应，并在整个展览作品形式中得到了共鸣。当前对版画交流的倡议是过去几十年间，基于中国积极文化战略而展开的密切交流上所写下的重要一笔。

The masters of European printmaking embark upon the spiritual space of China implementing contiguity with a tradition which draws its vitality both from its millennial accumulation and its ability for a profound perusal of the aesthetic achievements realizedin other geographical areas. The echo of the particular attractive force exercised upon Western artists in the 20thcentury by the cultural foundation and philosophic thought of the East resonates in the entire pattern of the collection. The current initiative is a significant stroke in the process of intense exchange based on the proactive cultural strategy of China in the last few decades.

鲁道夫大师的专栏 Kolotoc Majstra Rudolfa

弗拉迪米尔·加佐维奇Vladimir Gazovic

石版 Color Lithograph

51x40cm丨1993丨斯洛伐克 Slovakia

此次展览展出了包括德国、波兰、捷克、斯洛伐克、塞尔维亚和保加利亚等国版画领域最杰出代表的作品，这些作品在20世纪下半叶和21世纪初的欧洲版画史上留下了鲜明的印记。通过与作品的互动交流，艺术观者从中感受到版画所存在的显著有形性，而同时其发展轨迹又打破了物质与非物质、个体与整体之间的界限。

The exposition includes works by some of the most prominent representatives of the German, Polish, Czech, Slovak, Serbian and Bulgarian schools which have left their bright imprint in European printmaking in the second half of the 20thand the beginning of the 21stcentury. Via resorting to intercourse with the works, the viewer senses the distinct tangibility of being and, at the same time, eclipses in a trajectory transcending the boundaries between the material and the immaterial, the individual and the global.

侵入 Penetration

斯托扬·特萨涅夫 StoyanTsanev

铜版，飞尘 Etching,Aquatint

39x49cm丨1990丨保加利亚Bulgaria

从以图像-符号为主导的造型合成作品的精简主义到蕴含多层语义代码的错综复杂的结构化具象，其艺术探索的范围丰富且多元。艺术观点的间接表达与创作者通过丰富的造型技术所展现的有形的独特性相互呼应。

The artistic quest unfolds in a rich spectrum from the exquisite laconicismof the plastic synthesis dominated by the image – sign to the intricately structured metaphoric figurativeness saturated with muti-layeredsemantic codes. The suggestions presented indirectly resonate with tangible distinctiveness in the wealth of plastic techniques used by the authors.

在当代版画中，黑白色的经典冲突以鲜明的色彩跳动来缓和，这种与对应色彩的共生为版画作品带来了鲜活生动的效果。从哲学角度看，这种三位一体的表达将我们带入了作品存在的二元性中。

In contemporary prints, theic clash between black and white is modified by the distinct pulsation of colour which has gained vivid impact in co-existence with this counterpoint. When viewed in a philosophical context, this triad transports us to the duality of being.

在版画作品的互动上，因其作为一种艺术放射能，创作过程的特殊性这一先决条件决定了它的特殊影响力。我们所面对的一个问题是，每一件流通的版画作品所反映出来的在艺术表达上的多重独特性”。版画的核心作用是致力于反对精确自发性”，无论是以哲学的存在还是以具体形式的存在而言，它对时间范畴都有着不同于任何其他艺术的解读。视觉的冲击、思考的瞬间、创作的姿态和情感，均通过版画的多重印刷使得其表达的明确性和感官的冲击力倍增。

When in intercourse with the graphic work as an emanation of an art with a particular force of impact preconditioned by the specificity of the creative process, we face the issue of themultiplied uniqueness” of artistic expression reflected in each circulated print. In printmaking, central role is devoted to the oppositionprecision-spontaneity” in which the categorytime, in its philosophical and concrete being, attains an interpretation different from any other art. The multiple sealing of the impulse, the moment, the gesture, the emotion on the printing leaf multiplies the explicitness and force of their impact.

本次展览并未追求艺术覆盖的全面性，而是试图尽可能呈现过去五十年间这一艺术发展的主要趋势，并阐述其丰富多元的观点。来自科索沃和亚美尼亚的个体创作者的加入为整体概念添上了浓墨重彩的一笔，他们带来了积极的艺术交流，成为所考察地理区域艺术动态过程的其中一员。

The selection of authors in the current exhibition is not the result of a quest for thoroughness but rather an attempt to present the richest possible spectrum of points of view illustrating the main trends in the development of this art in the last fivedecades. A significant stroke in this entire concept is the inclusion of individual authors from Kosovo and Armenia who emphasize with their presence the active artistic exchange which makes them party to the dynamics of the artistic processes in the geographic area under review.

艺术家赋予作品以生命，造型艺术的外观虽然具有当代性，但在绝对维度上的意义早已超越了时空限制。创作者们在造型排列的精准把握和艺术对话的提升上，表现十分突出。

The authors have given life to works which are contemporary in their plastic appearance but exist beyond time in their absolute dimensions. The precision and perfectly mastered plastic syntax and uplifted artistic dialogue among the authors stand out clearly.

论无限的阈值2 On the threshold of infinity II

哈伊克·格里戈良 Hayk Grigoryan

铜版，美柔汀 Etching,Mezzotint

17x25cm丨2015丨亚美尼亚Armenia

背后隐藏着层层未知的有形事物与达到可理解程度的无形事物之间的对立冲突，是这一版画系列表达的重要因素。从绝对意义上说，艺术作品不再等同于创作者，而是超越了创作者的自主存在。其所带来的强烈共鸣触发了高出人类知识局限最高水平的感知。观者体会到了一种超越感官的新现实，而感官感知遮蔽了超越表面界限的真实性。当感官感知所设定的参考点消失时，现实可靠的感知导航将成为可能。

The antinomic commitment between the visible, behind which the layers of the unknown hide, and the invisible, which has attained the contours of the comprehensible, is essential for the collection. In its absolute being, the artistic work is no longer identified with its creator but it exists autonomously. Its mighty resonance provokes the finest levels of perception transporting us beyond the limits of human knowledge. The viewer perceives a new reality beyond the senses which shelters authenticity beyond the limits of the apparent. Reliable navigation has become possible where the reference points set by sensory perception disappear.

这些版画作品，在穿越内在洞见的层层迷雾后，成为一种具有普世精神价值的物质载体。本次展览展出的作品，其富有流光溢彩的艺术个性中的美妙复调，呼应了艺术的最高维度，而时间和空间、此地及彼地、抽象与具体的疆界早已不复存在。

The graphic leaves turn into material bearers of universal spiritual values attained in the quest for a ford through the labyrinth of introspective insights. The beautiful polyphony of dazzling artistic individualities in this exhibition resonates in the most elevated dimensions of art where the boundaries between time and space, here and beyond, abstract and concrete have been erased.

策展人/艾丽莎·特泽娃博士

保加利亚国立美术馆艺术评论家、史学家

Curator/PhD Elitsa Terzieva

Art critic and historian, National Art Gallery, Bulgaria.