2016“首届虚苑国际版画双年展”的评选已经落下帷幕，大奖被波兰的艺术家Kamil Kocurek夺走。

此次双年展共收到的50个国家和地区1169位艺术家的近5000件作品，初评中选出245位艺术家的作品入围复评。截止主办方收稿日期，共收到236位艺术家的作品参加复评，其中国外艺术家120位，国内116位。

根据复评第一轮的得票结果，有88位艺术家入选此届国际双年展。其中国内艺术家39位，国外艺术家49位。

今天给大家带来的是入选艺术家中 前 20 名 的部分艺术家作品，通过艺术家的自我阐述，让我们从创作者的角度理解艺术。

邓俊峰 中国

邓俊峰 无题 2014年 15x10cm/20x20cm/15x10cm

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邓俊峰 另外的世界系列 2014年 50x35cmx9

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创作阐释

在创作中加入带有动物特色的符号，我从物种的起源开始以一种最单纯的眼光来观察自然和自己的关系，生活在四周的动物它们独立的个性和与人类之间总存在着一种神秘的关系,我对此感到好奇，我不是在独立的生活在人群中，和动物一样的审视着人们，他们的一举一动，他们的欲望和行为，犹如动物在森林中的自由，所有生命变得简单，洗去了人与动物之间的界限，每个个体独特再也不分等级。而在当代的艺术作品中，关于动物的主题一直出现着，他们在当代文化艺术中有着特殊的存在意义。

Depuis quelques années je suis intéressé par les questions et les créatures associant l'homme et l'animal. Je ne sais pas pour quelle raison. Peut-être à cause de mon go?t pour certains films : "Nosferatu" de Murnau, "La Belle et la Bête" de Jean Cocteau, les séries : "The walking dead", "American horror story", ... Et en littérature, "Ainsi parlait Zarathoustra" de Nietzsche, "La métamorphose" de Kafka , "Mille plateaux "de Deleuze et Guattari.

Je mettre du symboles des animaux dans ma création artistique, j’utile une vision plus simple pour observer la relation entre moi et nature à partir de l’origine des espèces. Il y a un mystère dans la relation Humain et Animal, je suis curieux pour ?a. Je vis “indépendant” dans la foule, comme les animaux examinet à nous : nos propres mouvements ; désirs ; comportements. Comme un animal est libre dans la forêt, toute la vie est simple, je voudrais enlever les limites entre Humain et Animal, il n’y a pas de classé dans chaque individu. Dans l’art contemporain, le thème sur l’animal est existence en particulier dans la culture.

Thiburs,Luc 法国

Thiburs,Luc Armoz 系列 2014年 85 cm X154 cm

Davida Kidd 加拿大

Davida Kidd Practicing Magic 2014年 92 x 74cm

创作阐释

"Practicing Magic" represents hours of stitching bits of visual information, from found imagery to my own photography and meticulous drawing on the computer to invent people and a scene that becomes a new mythology to contemplate.

As we move forward in this new millennium, the technological pace of our existence needs to find a rhythm that is compatible with the rest of nature. I?created this image out of a desire?to emphasize that?the creation of mythological images and stories still meet contemporary psychological needs.?

Consider the popularity of the characters and mythic kinds of themes of the "Star Wars" series. These unfold into intricate philosophical?labyrinths?that deal with the?unearthing of hidden knowledge. Another example is the inventors of the comic book heroes of DC comics, who spun the morality tales of the early to late 20th century by digging into the post war fears of the human psyche.

To imagine is to see beyond what is obviously apparent. This is the arena of speculative fiction, science fiction and philosophy. The ability to imagine and envision sets the stage for creative problem solving. With civilization moving in the direction of the virtual starting to hold validity in terms of experiential reality, we are beginning to spend serious time within internal mindscapes of our own creation. ?A new kind of story telling is unfolding where one can even choose from alternate endings and paths of story line development. Our literary and story telling models are changing.

Even?with?memorization, stories passed on orally, evolve over long periods as the details become altered by different storytellers, and changing contexts to suit different audiences and circumstances,?Including cultural and linguistic changes. The development of the imagination has its roots in the oral tradition of story telling, where family secrets, folk medicine recipes, tales of?superstition and morality are passed on, and embellished with time.?

What are these two women talking about? In another time they could be considered witches. They are conjuring, "Practicing Magic", under the guise of upper crust early 20th century, restrained?civility. This image?acts as a catalyst for the imagination in the viewer. I would consider these women early activists whispering to each other about old remedies, the healing properties of local plants, stories of the old country.

My printmaking sensibility has facilitated my journey into the making of countless layers in this image. Layers are made and blended over and over again. Although the image is quite black and white in appearance, there are many subtle black colour differences added, inspired by the rainbow of black inks one can apply to intaglio prints。

张凌瑞 中国

张凌瑞 蚁生系列 2015年 120cm×80cm

创作阐释

蚁生系列是我本科的毕业创作的延续，也是一直以来我对生活和版画的一个阶段性的认识总结。我在生活中的规律很平稳，没有太多的起伏。一次偶然的机会观察到数量庞大的蚁群，它们的举动跟自己有相似之处。蚁跟人一样，同样有它们自己的生活状态跟规律，同样有自己的奋斗目标，由此得来我的创作灵感。我以蚁为主体表现，主体较为写实逼真的刻画，而存托它们的背景我用绝版套色的方法表现得较为形式感。颜色我取黑白灰的色调更能突出蚂蚁固有黑色的主体。而蚁生系列之二就是表现蚁群在陈旧的墙上的群居生活，每只蚂蚁对群体生活的动态都不一样，而从大体的群居生活看很规整很统一，能压住背景的颜色使之很和谐。这系列作品并没有体现常规的木刻语言，而是很规矩的表现画面，这是我对于这系列作品自己独特的认识。这也能更好地表现我的艺术态度。

The ant series is a continuation of the graduation creation of my undergraduate course,It is also a stage of my life and print a summary of the understanding. I am in the life of the law is very smooth, not too many ups and downs.An accidental opportunity to observe a large number of colonies, their actions with their own similarities. Ants, like people, also have their own living conditions and laws, also have their own goals, which came to my creative inspiration. I ant as the subject, subject more realistic depiction, but I use color print method behaves more sense of form supporting their background. The color I take black and white ash color more can highlight the main body of the black ant. While the ants' series is the performance of ant colony social life in the old wall, each ant community lives are not the same, and from the general social life look very neat uniform, can suppress the background color is very harmonious. This series of works and did not reflect the conventional woodcut language, but very rules of the picture, this is I to this series of works its own unique understanding. This is also a better way to show my artistic attitude.

Grzegorz Hańderek 波兰

Grzegorz Hańderek in-site 02 2016 274x83cm

创作阐释

My work reflects on the phenomenon of space, its physical and mental experience. As apoint of reference, space is also the subject discovering the existential dimension of meaning.

Concentration of architectural form and placing it outside functional context refers to thephenomenon of marking space by humanity, understood in two ways: as leaving a mark ofour presence or reading /discovery of space as a place-area marked with values.Not without significance here is also fascination with the local, industrial landscape ofUpper Silesia – a region recovering from years of environmental degradation, in search of anew identity and growth prospects. The remains of that landscape in the form of architectural remnants of coal-based industrial culture form scattered and of ten incomplete signs in the space of the area where I live.

The problem of context is especially important for me – in the my work I try to represent it in a metaphorical way.

Graphic forms directly open up on the space between them, so that it gains the rank of an intrinsic element of the whole. The rhythmical internal structure drawn in accordance with an independent geometric grid is meant to provoke a dialogue with the physical space of the exhibition venue. It is no longer about objects in space, but a multidimensional space...

Marcin Bialas 波兰

Marcin Bialas Other Way 系列 2014 100x70cm

琚瑜 中国

琚瑜 城市消失的印记系列 2016年 160x80cm

创作阐释

近几年，随着城市建设的全面进行，老城区历史街巷的传统风貌及文化特色也在不断消失。在旧城改建的过程中，在老城区，历史街巷，城中村消失的过程中，城市原有的城市形态和历史印记将如何保留;保留不了将如何纪念，回忆，也日益受到人们的越来越重的认识和思考，并且对于我们来说，也具有重要的研究意义与思考价值。

古街老巷，城市中独有的味道，它们是城市的文化体现和历史记忆，是城市最为浑厚的积淀，是历史的见证者。我利用富含城市发展进程信息量代表的城市符号与代表城市发展变化的视觉图像做对比，形成冲击力强烈的视觉语言，引发人们的思考。其实，发展不代表着一定要遗弃古老历史的事物，可以换种艺术形式来保留或者改造修补。对老旧事物的改造与保护，正是一种维护城市文化内涵的妥善方式，不要因为表面的繁荣与发展，让一些反映城市文化特色的事物逐渐消失，这样长久下去的话，一座城市本质的精神内涵，历史底蕴将会逐步消失。

In recent years, along with the all-round urban construction, historical streets, old cities, and villages in cities are gradually taken place by new urban areas. At the same time, the traditional style and cultural characteristics of historical streets in old towns are disappearing. Thus comes to the debate on how to retain , or at least, to commemorate and recollect the original urban morphology and historical imprints, which to us is of important research significance and thinking value.

The old streets, unique to the city, are urban culture reflects and historical memory. They are the most vigorous accumulation of city, the witness to the history .I tried to take a series of manhole covers in the places of historical rudiment of the city as main materials, which vividly reflects urban change and development throughout years. In the works, I make a contrast between the city symbol and visual images, which , as a language of strong impact force, initiates people's thinking.

In my opinion, the development of the city does not mean that we must abandon traditional old things with history. Instead, we can retain or repair them. The transformation and protection of traditional old things is exactly the proper protection of urban culture. Never let things that reflect the characteristics of urban culture disappear as a result of the superficial prosperity and development of cities. If not, the very essence of cities--spiritual connotation and historical details will gradually disappear in a long run.

Mouttet Isabel 法国

Mouttet Isabel Mémoire du Mur系列 2015年 75.4x18cm

创作阐释

After a degree in architecture and a formation in chinese calligraphy, engraving allowed me to connect these two experiences thank to the particular spirit that arouses the work by burin. As an architect's

project, an engraving in the burin consists in line by line and grants a large importance to the space. Like the unique line of chinese brush, every line of the burin can play variations of nuances. The work is like a

meditation between geometry and writing.

For me ? Engrave ? is ? leave a trace, write the silence, build rhythms ? .

I realized a series of prints on the theme of Memory, about the traces of the History in Berlin,( the Holocaust and the Wall ). I writed the name of the victims with the burin ( in ? Pavés de Mémoire ?) or with a drawing pencil ( on ? Mémoire de l'absence ? and ? Mémoire du Mur ? ). On a print the tittle is very important and we write it with a drawing pencil. So it seemed interressant to write the names of the victims with a drawing pencil as a necessary complement, as a trace.