10/17-12/16, 2025
Curator: Session | Printmaking as a Historiography
The 4th CAA Printmaking Triennial
Museum of China Academy of Art, Hangzhou, China
Museum of China Academy of Art, Hangzhou, China
后印刷——第四届CAA国际版画三年展
The 4th CAA Printmaking Triennial
New Release Poster- Organizations & Collaborators
艺术家—第四届CAA国际版画三年展
The 4th CAA Printmaking Triennial
New Release Poster- Artists
Documentary film, the 4th CAA Printmaking Triennial
后印刷——第四届CAA版画三年展
Print in the Post-Print — The 4th CAA
Printmaking Triennial
展览主办 Organizers
浙江省文学艺术界联合会
Zhejiang Federation of Literary and Art Circles
中国美术学院
China Academy of Art
展览承办 Co-organizers
中国美术学院美术馆
Art Museum of China Academy of Art
中国美术学院绘画艺术学院
School of Painting, China Academy of Art
浙江省美术家协会
Zhejiang Artists' Association
浙江省版画家协会
Zhejiang Printmakers' Association
展览协办 Collaborating Institutions
北京大学赛克勒考古与艺术博物馆
Arthur M. Sackler Museum of Art and Archaeology at Peking University
哥伦比亚大学勒罗伊·尼曼版画中心（美国）
The LeRoy Neiman Center for Print Studies, Columbia University (US)
环球限量艺术版画（美国）
Universal Limited Art Editions (US)
纽约州立石溪大学艺术系（美国）
SUNY Stony Brook University Art Department (US)
石路版画工作室（爱尔兰）
Stoney Road Press (Ireland)
GG版画工作室（瑞典）
GG Print Studio (Sweden)
凯特·麦加里画廊（英国）
Kate MacGarry Gallery (UK)
久保田真帆画廊（日本）
MAHO KUBOTA Gallery (Japan)
支持单位 Support Organization
中华人民共和国钱江海关
Qianjiang Customs, People's Republic of China
赛尔富照明
Sailuf Electronics Co. Ltd.
学术主持 Academic Chairs
许 江 Xu Jiang
余旭红 Yu Xuhong
展览策划 Exhibition Planning
孔国桥 Kong Guoqiao
策展人 Curators
于 洪 Yu Hong
李 昶 Lisa Chang Lee
韩 沁 Han Qin
渠敬东 Qu Jingdong
吴兴明 Wu Xingming
展览统筹 Exhibition Coordination
邬大勇 Wu Dayong
夏商周 Xia Shangzhou
策展执行 Curatorial Execution
王丹南 Wang Dannan、沈 蓓 Shen Bei
鲁利锋 Lu Lifeng、鲁 巍 Lu Wei
蔡可成 Cai Kecheng
展览工作组 Exhibition Team
何佳敏 He Jiamin、朱吉明 Zhu Jiming
潘 洋 Pan Yang、郜 觉 Gao Jue
耿 浩 Geng Hao、朱玫瑜 Zhu Meiyu
叶艾佳 Ye Aijia、任 和 Ren He
袁至琪 Yuan Zhiqi、叶 丛 Ye Cong
陈若燃 Chen Ruoran、王继鹏 Wang Jipeng
高 哲 Gao Zhe、王 馨 Wang Xin
王龙辉 Wang Longhui、姜子千 Jiang Ziqian
王剑红 Wang Jianhong、窦亚杰 Dou Yajie
朱 羚 Zhu Ling、王 洋 Wang Yang
陈卫青 Chen Weiqing、赵 怡 Zhao Yi
薛佳音 Xue Jiayin、张耀玮 Zhang Yaowei
李 昂 Li Ang、赵一璇 Zhao Yixuan
宣传工作组 Media Team
中国美术学院融媒体中心
CAA Media Convergence Center
Printmaking as a Historiography
版画作为一种史观
版画作为一种史观
参展艺术家 ARTISTS
玛丽娜·亚当斯｜Marina Adams、唐纳德·贝赫勒｜Donald Baechler、恩里克·查戈亚｜Enrique Chagoya、查克·克洛斯｜Chuck Close、苏珊娜·科菲｜Susanna Coffey、艾米·卡特勒｜Amy Cutler、N. 达什｜N. Dash、马克·福克斯｜Mark Fox、罗伯特·古德诺｜Robert Goodnough、简·汉蒙德｜Jane Hammond、瓦莱丽·哈蒙德｜Valerie Hammond、比尔·詹森｜Bill Jensen、布拉德·卡尔哈默｜Brad Kahlhamer、朱利安·莱斯布里奇｜Julian Lethbridge、玛丽索尔·埃斯科瓦尔｜María Sol Marisol (Escobar)、苏珊娜·麦克莱兰｜Suzanne McClelland、沃德尔·米兰｜Wardell Milan、罗伯特·马瑟韦尔｜Robert Motherwell、山姆·莫耶｜Sam Moyer、伊丽莎白·默里｜Elizabeth Murray、艾米·奥尼尔｜Amy O’Neill、马丁·珀里尔｜Martin Puryear、罗伯特·劳森伯格｜Robert Rauschenberg、詹姆斯·罗森奎斯特｜James Rosenquist、苏珊·劳森伯格｜Susan Rothenberg、基基·史密斯｜Kiki Smith、萨拉·斯茨｜Sarah Sze、里克力·提拉瓦尼｜Rirkrit Tiravanija、扎卡里·沃拉德｜Zachary Wollard
In the section “Printmaking as a Historiography”, curated by Han Qin, the exhibition focuses on works drawn from Universal Limited Art Editions (ULAE) in the United States and the LeRoy Neiman Center for Print Studies (LNCP) at Columbia University, presenting the experimental and conceptual achievements in printmaking by twenty-nine Western modern and contemporary artists active since the latter half of the twentieth century. These include works by significant figures such as Robert Rauschenberg, Chuck Close, Kiki Smith, and Sarah Sze.Since this period, with the intervention of screen printing, collage, transfer, and photography, print in the context of printmaking has continually expanded beyond the limits of mere representation, evolving from a mode of artistic reproduction into a conceptual and social metaphor, reflecting both thought and society. Through strategies of engagement with reality, critical reflection on media, and the reconstruction of image logic, printmaking becomes a means for artists to understand the world and engage in self-reflection, while continuously provoking philosophical inquiries into the relationship between technology and art—a historical consciousness grounded in the methodology of print.
CURATOR: Han Qin
策展人：韩沁
策展人：韩沁
罗伯特·劳森伯格｜Robert Rauschenberg
Artists
萨拉·斯茨｜Sarah Sze
艾米·奥尼尔｜Amy O’Neill
艾米·卡特勒｜Amy Cutler
比尔·詹森｜Bill Jensen
比尔·詹森｜Bill Jensen
朱利安·莱斯布里奇｜Julian Lethbridge
简·汉蒙德｜Jane Hammond
玛丽索尔·埃斯科瓦尔｜María Sol Marisol
里克力·提拉瓦尼｜Rirkrit Tiravanija
苏珊·劳森伯格｜Susan Rothenberg
Installation
伊丽莎白·默里｜Elizabeth Murray
Installation
比尔·詹森｜Bill Jensen
苏珊娜·麦克莱兰｜Suzanne McClelland
马丁·珀里尔｜Martin Puryear
罗伯特·马瑟韦尔｜Robert Motherwell
罗伯特·古德诺｜Robert Goodnough
恩里克·查戈亚｜Enrique Chagoya
里克力·提拉瓦尼｜Rirkrit Tiravanija
基基·史密斯｜Kiki Smith
「后印刷」——展览开幕，研讨会
POST PRINT ----Exhibition Opening and Seminar
The exhibition is structured around four core sections, following the logical threads of "Traditional Origins," "Shift in Thinking," "Media Reconstruction," and "Site Recreation." Divided into four sections—"Classical and Romantic," "Printmaking as a Historiography," "Media of Interfluidity," and "Print of Being". The exhibition brings together artworks by 91 artists, including Claude Lorrain, William Turner, Robert Rauschenberg, Kiki Smith, Shi Hui, Fang Lijun, Zhou Jirong, and Yang Feng.
四大核心板块搭建起展览框架，依循“传统溯源”“思维转向”“媒介重构”和“在地再造”的逻辑线索，展览分为“古典与浪漫——现代主义的先声”“版画作为一种史观”“多维·介变”和“此在的印刷”四个板块，汇集克劳德·洛兰、威廉·透纳罗伯特·劳森伯格、奇奇·史密斯、施慧、方力钧、周吉荣、杨锋等91位中外艺术家的艺术作品。
Art Museum of China Academy of Art
Print in the Post-Print — The 4th CAAPrintmaking Triennial
Print in the Post-Print — The 4th CAAPrintmaking Triennial
学术主持 Academic Chairs 许 江 Xu Jiang
Print in the Post-Print — The 4th CAAPrintmaking Triennial
Art Museum of China Academy of Art
Art Museum of China Academy of Art
Seminar
Curator: 于洪 Yu Hong
Curator: 渠敬东 Qu Jingdong
Artist: 方力钧 Fang Lijun
Curator: 韩 沁 Han Qin
Curator: 韩 沁 Han Qin
Curator: 李 昶 Lisa Chang Lee
Seminar
Seminar
Seminar
Opening
Opening
Opening
Opening
Opening
Artist: Zadok Ben-David
Preface 前言
The CAA International Printmaking Exhibition, centered on the critical discourse of Post-Print, is an international printmaking project initiated in 2015 by the Printmaking Department team of the China Academy of Art (CAA), under the guidance and support of then-President Professor Xu Jiang. The inaugural edition was launched concurrently with the 9th IMPACT International Printmaking Conference, held at CAA-a conference whose very title, IMPACT, in the English context, evokes associations with “international”, “interdisciplinary”, “print”, “artist”, “concept”, and “technology”. Taking place in parallel with this globally significant academic event, the exhibition exerted a wide-reaching and lasting international influence. A full decade has now elapsed since its inception.
The present CAA International Printmaking Triennial, continuing its sustained inquiry into the notion of Post-Print, unfolds along a curatorial logic articulated through four conceptual trajectories: retracing tradition, reorienting thought, reconstructing medium, and recontextualizing locality.
In the section “Classic and Romantic — The Prelude to Modernism”, the exhibition presents The Liber Veritatis (Book of Truth) printed from the original copperplates by the seventeenth-century French artist Claude Lorrain, alongside original etchings by the eighteenth- to nineteenth-century British artist J. M. W. Turner. From Lorrain’s “ideal landscape” to Turner’s “emotional landscape”, this transition marks not merely a shift in modes of visual representation, but also signifies a transformation from the reproducible paradigm of the Baroque ideal landscape to the public image system of Romanticism. Lorrain’s Book of Truth embedded the notion of authorship within the process of reproduction itself, while Turner’s copperplate prints further advanced the concept by transforming reproduction as such into an act of artistic creation.This idea—that “reproduction is creation”—inspired subsequent developments in photography, the original print movement, and the modern concept of the “multiple original”. This notion of “reproduction as creation” inspired subsequent developments in photography, the original print movement, and even the modern concept of the “multiple original”. For instance, Impressionism, Symbolism, and the abstract art of the twentieth century each found within this theoretical legacy their own trajectories of inquiry and freedom.
In the section “Printmaking as a Historiography”, the exhibition focuses on works drawn from Universal Limited Art Editions (ULAE) in the United States and the LeRoy Neiman Center for Print Studies (LNCP) at Columbia University, presenting the experimental and conceptual achievements in printmaking by twenty-nine Western modern and contemporary artists active since the latter half of the twentieth century. These include works by significant figures such as Robert Rauschenberg, Chuck Close, Kiki Smith, and Sarah Sze.Since this period, with the intervention of screen printing, collage, transfer, and photography, print in the context of printmaking has continually expanded beyond the limits of mere representation, evolving from a mode of artistic reproduction into a conceptual and social metaphor, reflecting both thought and society. Through strategies of engagement with reality, critical reflection on media, and the reconstruction of image logic, printmaking becomes a means for artists to understand the world and engage in self-reflection, while continuously provoking philosophical inquiries into the relationship between technology and art—a historical consciousness grounded in the methodology of print.
In the section “Medium of Interfluidity”, the curators adopt a perspective of media archaeology, assembling thirteen works (including a collaborative project) by fourteen artists from the United Kingdom, Germany, Ireland, Sweden, and Japan. Here, printmaking is no longer confined to the visual domain; it extends into non-visual perceptual dimensions such as sound, scent, and coding. In an era of information overload and visual fragmentation, this section attempts a cross-media return to the essence of “printing”:a generative channel situated between time and memory, materiality and translation, aimed at reconstructing the order and meaning of perception.
In the section “Print of Being”, the focus is placed on contemporary works by Chinese artists,demonstrating how, within a visual ecology deeply shaped by data and algorithms, print is employed as a tool for reflection and transposition, enabling a re-engagement with bodily experience, geographic space, and social relations.Between industrial civilization and natural relics, artists may adhere to the classical language of traditional printmaking, or, taking “printmaking thought” as a point of departure, endeavor to expand and construct new artistic ethics and aesthetic orders.Situated between industrial civilization and natural relics, artists may engage with the classical language of traditional printmaking or, using“printmaking thought”as a conceptual point of departure, strive to develop new artistic ethics and aesthetic frameworks. Here, “print” functions not only as a method of technology, but as a vehicle for reflecting on art and existence, and as an operative process of generation, reconstruction, and relational connectivity—infusing the act of creation and extending into the experiential realm of the viewer. In the present era of AI-driven technological acceleration, these artists, from a global perspective, consider how print, permeating from material surfaces into digital genomes—or, in other words, when reproduction ceases to be merely a technical result and becomes a conceptual premise—can serve as a form of historical trace, a medium logic, and a structure for individual perception and artistic expression in contemporary printmaking.
This edition of the exhibition brings together works by ninety-one artists—forty-two from China and forty-nine from abroad—including flat prints, 3D-printed works, video, and installations. These works, situated within a historical dimension, may emphasize formal qualities or engage with conceptual concerns, continually transcending the established paradigms of traditional printmaking. From the foundational locus of “print” in printmaking, and within the contemporary social and intellectual context of “Post-Print”, the exhibition positions printmaking practice as a generative logic that traverses material boundaries, reconstructs the politics of imagery, and reshapes modes of human perception. Confronting questions such as “reproduction versus originality,” “virtuality versus reality”, and “technology versus existence”, the exhibition, through its collective assemblage of works, seeks to present the tradition, present condition, and potential futures of print as a technological medium, and to reflect on the role of printmaking as a mode of both artistic practice and lived experience.
前 言
以“后印刷”为核心议题的CAA版画展览，是2015年在时任中国美术学院院长许江教授的倡导和指导下，由中国美术学院版画系团队具体执行的一个国际性版画届展项目。首届展览借第九届“IMPACT国际版画会议”（IMPACT在英文语境中寓含“国际的”、“跨学科的”、“版画”、“艺术家”、“观念”与“技术”等）在中国美术学院召开之际与会议同期开幕并产生了广泛的国际影响。到今天，已经过去了整整十年的时间。
本届“CAA版画三年展”，以“后印刷”为持续议题，依循“传统溯源、思维转向、媒介重构和在地再造”的逻辑线索，将展览划分为四个板块。
在《古典与浪漫——现代主义的先声》板块，展示了17世纪法国艺术家克劳德·洛兰（Claude Lorrain）以铜版原版印制的《真实之书》与18-19世纪英国艺术家威廉·透纳（J. M. W. Turner）的铜版画原作。从洛兰的“理想风景”到透纳的“情感风景”，不仅是视觉再现观的一种转折，也体现了从巴洛克理想风景的“可复制”样式到浪漫主义公共图像体系的一种转变。洛兰的《真实之书》将“作者性”嵌入复制过程，透纳的铜版画则进一步使“复制本身”成为艺术创作。这种“复制即创造”的观念，启发了后来的摄影、版画原作运动乃至现代艺术的“多重原作”概念，印象派、象征主义乃至20世纪的抽象艺术，都在这一理论遗产中探寻着各自的自由。
在《版画作为一种史观》板块，我们以美国环球限量艺术版画（ULAE）与哥伦比亚大学勒罗伊·尼曼版画中心（LNCP）的藏品为主体，展示20世纪后半叶以来的29位西方现当代艺术家在版画领域的实验与思想成果，包括了罗伯特·劳森伯格（Robert Rauschenberg）、查克·克洛斯（Chuck Close）、奇奇·史密斯（Kiki Smith）和萨拉·斯茨（Sarah Sze）等重要艺术家的作品。这个时期以来，随着丝网印刷、拼贴、转印与摄影的介入，版画“印刷”不断超越再现的范畴，并从“艺术的再生产”转化为了思想与社会的一种隐喻。通过现实介入、媒介反思和图像逻辑重构等手段，版画成为艺术家认识世界与自我反思的一种方式，并不断触发有关“技术”与“艺术”的哲学思考——一种以“印刷”为方法论的历史观。
在《多维·介变》板块，策展人以媒介考古学为视角，集合了来自英国、德国、爱尔兰、瑞典和日本的12位艺术家与一个艺术小组的13件（组）作品，试图追溯20世纪以来印刷技术对于艺术语言和观看机制的不断刺激及其融合——从立体主义的拼贴到观念艺术中的转印和邮寄实践，从工业性复制到数字化模拟，印刷的“可转移性”不断扩展为一种文化现象。在这里，版画不再被局限于视觉的范畴，而是延伸到了声波、气味、编码等非视觉的感知维度。在信息爆炸与视觉碎片的时代，该板块尝试以跨媒介的路径回返“印刷”之根本：一条作为时间与记忆、实体与转译之间的生成通道，以重建感知的秩序与意义。
在《此在的印刷》板块，我们重点择取中国艺术家的当代作品，展示其在被数据与算法深度塑形的视觉生态中，以“印刷”为思考与转义的工具，重新抵达身体经验、地理空间与社会关系的现场。在工业文明与自然遗迹之间，艺术家或坚守传统版画语言的经典，或以“版画思维”为原点，勉力拓展和建构新的艺术伦理与美学秩序。在这里，“印刷”不仅是技术的一种手段，也是思考艺术与存在的一个载体，更是关于生成、再造与连接的一场行动——它贯穿于创作的过程，也延伸至观者的经验。在当下这个以AI为驱动的技术加速时代，他们以全球化的视野，思考当“印刷”由物质表层沁至数字基因，或者说：当复制不再成为技术的结果而是观念的前提之时，当代版画如何成为一种历史痕迹、媒介逻辑以及知性结构的个体感知与艺术表达的方式。
本届展览共汇集了91位艺术家（42位中国艺术家、49位境外艺术家）的平面版画、3D打印、影像和装置作品。这些作品，以历史为维度，或侧重于形式，或致力于观念，不断超越传统版画的既有态势，进而从“印刷”这一版画的本源之处出发，在当下“后印刷”的社会和思想环境之中，将版画的实践视作为一条跨越物质边界、重构图像政治与人类知觉方式的生成逻辑。面对“复制与原创”、“虚拟与真实”、“技术与存在”等问题，我们试图通过展览集合的作品，呈现“印刷”这一技术媒介的传统、当下及其未来的可能形态，思考版画作为艺术和生活的一种方式，其既有与应有的位置。
Experimental Explorations in Contemporary Printmaking
—a multi-dimensional guided tour and dialogue by curators Han Qin and Li Chang
"Post-Printing"—the 4th CAA Printmaking Triennial—opens on October 20, 2025, at the China Academy of Art Museum. This exhibition brings together prints, 3D prints, video works, and installations by 91 artists (42 Chinese and 49 international). Addressing questions of "reproduction versus originality," "virtual versus reality," and "technology versus existence," the exhibition aims to present the tradition, present, and possible future forms of printing as a technological medium, reflecting on printmaking as an art form and a way of life, and its existing and rightful place.
This public education event, titled "Experimental Explorations in Contemporary Printmaking"—a multi-dimensional guided tour and dialogue by curators Han Qin and Li Chang, features an academic tour and discussion.
「后印刷」——第四届CAA版画三年展于2025年10月20日在中国美术学院美术馆开幕。本届展览共汇集91位艺术家（42位中国艺术家、49位境外艺术家）的平面版画、3D打印、影像和装置作品。面对“复制与原创”、“虚拟与真实”、“技术与存在”等问题，试图通过展览集合的作品，呈现“印刷”这一技术媒介的传统、当下及其未来的可能形态，思考版画作为艺术和生活的一种方式，其既有与应有的位置。
本次公教活动以“当代版画的实验探索”——策展人多维导览与对话为题，特邀两位展览策展人韩沁与李昶，展开学术导览和对谈。
Documentary film of installation at the Museum of CAA