亚洲现场 | 中国水印木刻青年计划 · 2021年度展圆满开幕

✦✦✦

亚洲艺术中心于2021年6月26日举办了“第四代：图像与媒介——中国水印木刻青年计划 · 2021年度展”。本次展览由段少锋担任策展人、王霖、冉云琪担任展览统筹，展出十位艺术家程国亮、顾亦鸣、黄洋、连卓奇、梁业健、石磊、王岩、游宇、庾武锋、张晓锋共计四十余件水印木刻作品。

✦✦✦

前言

陈琦

感谢李宜霖先生以及亚洲艺术中心对中国水印木刻青年计划的无私支持，感谢所有为该计划付出努力的各界人士！

✦✦✦

第四代：生逢其时（节选）

段少锋

✦✦✦

  到场嘉宾：

中央美术学院党委书记高洪

中央美术学院宣传部长秦建平

中央美术学院校友工作办公室兼基金会办公室副主任陆英明

北京七星华电科技集团有限责任公司党委书记、董事、总经理李前

中国艺术报社社长孟祥宁

中国画报出版社社长于九涛

南京艺术学院版画系主任、教授、硕士生导师张放

中央美术学院研究生院党总支书记兼教学部主任葛玉君

中国水印木刻青年计划学术委员会委员：

中国美术学院绘画艺术学院版画系教授方利民

《美术》杂志社编审、副主编盛葳

中央美术学院艺术管理与教育学院教授刘礼宾

中国美术馆副研究馆员魏祥奇

四川美术馆展览部策展人冯石

。

秦建平：陈琦作为一名教师，有着深厚的教书育人的情怀，他用自己扎扎实实的实际行动，设立这样一个十年计划。我们希望通过这十年，青年艺术家能够有长足的发展，从而培养出更多更好更优秀的水印木刻艺术人才。

陆英明：中央美术学院教育发展基金会在2011年成立以来，陆续有一些中央美术学院知名的专家学者在学校或者全国范围内设立一些重要的艺术类奖项，他们有一个共同的特点，基本上都是在退了休之后，由家人或者个人捐资设立了一些重要的艺术奖项。但是，陈老师设立的奖项是我们基金会2011年到现在十年间第一次由一位在职的教授设立的重要奖项，这是第一个，也是唯一一个在职教师设立的奖项。当陈老师提到有这样想法的时候，我们第一时间表态一定全力支持奖项的举办，所以在此感谢陈老师为中国水印木刻版画做出的重要贡献，谢谢。

。

研讨会学者嘉宾：

中国美术学院绘画艺术学院版画系教授   方利民

中央美术学院美术史系教授  曹庆晖

中央美术学院美术学研究所副研究员  刘礼宾

《美术》杂志社编审、副主编   盛葳

中国美术馆副研究馆员   魏祥奇

四川美术馆展览部策展人   冯石

中央美术学院研究生院常务副院长，教授，博士生导师   陈琦

策展人   段少锋

  展览现场   

。

Preface

Chen Qi

After nearly 70 years of development and the joint efforts of several generations of printmakers, modern waterprint woodcut have become the iconic representative of Chinese prints. It is not only reflected in the uniqueness of waterprint woodcut tools and media, but also in the cultural genes and profound heritage hidden behind it. Therefore, waterprint woodcut plays a significant role, which shows the artistic image represented by Chinese prints and spreads Chinese cultural values in the international printmaking world.

Given the opportunities and challenges brought about by continuous technological progress, what kind of printmaking art can China contribute to in the current global printmaking context? What kind of visual cultural image can China provide? What kind of philosophical concepts can China express? This not only depends on the cultural self-confidence given to us by the long history of Chinese prints, but also must provide convincing works of art and theoretical research results in contemporary waterprint woodcut art creation and research. The tolerance and language possibilities of waterprint woodcut are unmatched by other types of prints. If we can understand waterprint woodcuts from a philosophical level, waterprint woodcuts can truly rise from a metaphysical specific engraving type to an expression of traditional Chinese culture, because Chinese thought itself is extremely tolerant and infinite.

The development of waterprint woodcut is inseparable from excellent creators and researchers. At present, there are still many printmaking departments of professional art colleges that do not offer printmaking courses. The main reason is the lack of teachers. Over the years, I have been committed to the promotion and dissemination of waterprint woodcut, and I regard it as the most crucial work besides my teaching and creation. I know this is a long and arduous job. Waterprint woodcut creation and talent training require a lot of time investment and the process is slow. It is difficult to achieve substantive results quickly and requires a long wait. Beginning in 2019, I plan to create a waterprint woodcut work with auspicious snow as the theme for charity sale at the end of each year. The proceeds will be used for the exhibition and publication of the China Waterprint Woodcut Youth Program. I hope to encourage young artists to devote themselves to waterprint woodcut art creation with my moderation, to promote the development of Chinese waterprint woodcut.

The Fourth Generation of Image & Medium - China Waterprint Woodcut Youth Program 2021 Annual Exhibition will focus on the domestic waterprint woodcut related college young teachers. They are not only academic members of waterprint woodcut, inheritors and innovators of academic printmaking, but also the backbone of the academic school of waterprint woodcut in the future. They are like relay hands passing down the fire.  Especially when these young people take on the responsibility of teaching, what they are pointing to is the future. The development and promotion of waterprint woodcut art cannot be separated from the efforts of these young people, nor can it be separated from the heritage of the college tradition. That is the point we need to focus on.

In the end, I would like to thank Sir Alan Lee and Asia Art Center for their selfless support to the China Waterprint Woodcut Youth Program, and also thank all people in various fields who have worked hard for this project!

Excerpt from "The Forth Generation: Born at the Right Time"

 Duan Shaofeng

With the first exhibition of the China Waterprint Woodcut Youth Program entitled "Fourth Generation: Image & Medium", it forms an echo that spans two years. The 2021 Annual Exhibition of the China Waterprint Woodcut Youth Program is also based on the current waterprint woodcut art ecology. In fact, it points to the future and hope. The identities of the participating artists in this exhibition have dual attributes. They are not only active in contemporary watermarking woodcut art practice, but also educators in the process of inheriting waterprint woodcut teaching. This dual identity is brought together to form a whole distinctive academic characteristics, and they are bound to be in the pedigree of academic tradition and context. The "youth" in the China Waterprint Woodcut Youth Program is no longer simply describing and limiting youths based on age. At the same time, they pay attention to their transition and creativity from the perspective of artists' creation, and their impact on the future development of academics from the nature of their work. As the first exhibition presented by the China Waterprint Youth Program, the 2021 annual exhibition focuses on the group of young teachers in the Art College.

The generational division of the cultural and art world is not new: the third generation of poets in the poetry world emerged in the 1980s, the fifth generation of directors in the film industry, and the new generation of artists and film directors in the field of painting emerged in the early 1990s. In the sixth generation, the division of generations is often applied to the field of cultural research, which is convenient for summarizing and combing the experience and experience of a generation, looking for the universality from its particularity, and then discovering the particularity of each case from the universality. Thus, it can constitute vividness and completeness of the research, which is the so-called universality, the result of the times and history, while the particularity is the unique thinking and creativity retained by everyone in the era and history, apart from the inescapable commonality. After the founding of the People’s Republic of China, the teaching of waterprint woodcut has been passed down for four generations, and today it has formed the fourth generation of people born in the 70s and 80s. The background is different from the previous generations. Today's prosperous Chinese economy is changing with each passing day. The development of science and technology has provided a sufficient social scene for the development of today’s fourth-generation contemporary waterprint woodcut artists. At the same time, the revitalization of tradition and the integration of art and technology advocated by the national cultural policy have brought challenges and opportunities for the fourth generation. This exhibition proposes that the fourth generation is not only to present the fourth generation itself, but to place it in the clues of history and cultural development. We present the fourth generation and, more significantly, trace the development of contemporary waterprint woodcut education before the fourth generation. Inheriting the tradition and art history, we are looking forward to the possibility of waterprint woodcut education and creation in the future.

The era of the fourth generation is an era in which image and medium are ubiquitous. "Image & Medium" constitute a true portrayal of the digital life of artists of this generation. Focusing on the plural and imprints of prints, imprints point to the materiality and historical tradition of waterprint woodcut, and plurals point to data and medium in contemporary society. From the "fourth generation" to "Image & Medium", it is actually the relationship between universality and particularity that is actually constructed. We finally hope that through the platform of the China Waterprint Youth Project, we will present the various topics regarding waterprint woodcut today. This exhibition has triggered more discussions starting from the "fourth generation". The significance of the exhibition is not only to show, but to create opportunities for dialogue and debate. Only in this way can we clarify academic issues little by little, form a certain consensus, and establish a start from the academic community of Chinese waterprint woodcut art. In general, the fourth generation is born at the right time.

编辑 / Editor：冉云琪 Seraph Ran

 正在展出  Current Exhibitions

亚洲艺术中心（北京）《第四代：图像与媒介——中国水印木刻青年计划·2021年度展》

亚洲艺术中心（上海）《坐看云起——管伟邦个展》 

 最新消息  Lastest News

亚洲艺术中心全新旗舰空间2021年6月于台北正式开幕