【线上展厅第十期】第六届上海铜版画展——国际美柔汀特展艺术家解读

美国魁北克三河市当代国际版画双年展创始人之一

1977毕业于魁北克大学三河分校

1970年代末参与创办集体版画工作室Atelier Presse Papier

1984 – 1985任魁北克版画协会主席

Guy Langevin is one of the founders of the Biennale international d’estampe contemporaine de Trois-Rivières. 

1977Graduation from Université du Québec à Trois-Rivières

End 1970sParticipation to create Atelier Presse Papier, a collective professional printmaking studio

1984-85Chairman of the Quebec Printmakers’ Association

参展与获奖

2019 

拉脱维亚考纳斯国际版画双年展 / 一等奖 

俄罗斯乌法乌拉尔版画双年展 / 策展人奖

俄罗斯克拉斯诺达尔 / “无毒害创作”三等奖

2018 

马其顿比托拉国际版画三年展 / 特别奖

2017 

阿根廷罗萨里奥小版画展 / 一等奖

2016 

俄罗斯乌法乌拉尔版画三年展 / 荣誉证书

土耳其伊斯坦布尔第5届国际版画大赛 / 二等奖

2015 

克罗地亚斯普利特平面艺术展 / 平面艺术促进奖

塞尔维亚克拉列沃国际平面艺术沙龙 / 特别认可奖

2014 

阿根廷罗萨里奥小版画展 / 荣誉奖

保加利亚卡赞勒克小版画展 / 一等奖

法国巴黎第三十届当代版画沙龙 / 即时雕刻奖

2013 

俄罗斯乌拉尔三年展 / 一等奖

罗马尼亚“约瑟夫·伊塞尔”双年展 / 普洛耶什蒂城市奖

俄罗斯叶卡捷琳堡国际美柔汀节 / 传统技术突破创新奖。

2009 

中国观澜国际版画奖

中国抚顺第1届国际双年展 / 荣誉奖

2006 

印度博帕尔市巴哈莱特·巴哈汶版画艺术双年展 / 大奖

Exhibitions & Awards

2019 

First Prize, International Print Bienniel, Kaunas, Latvia

Curator's Award, Ural Print Biennial, Ufa, Russia

Third Prize for non-toxic work, Krasnodar, Russia

2018 

Special Award, Bitola International Print Triennial, Macedonia

2017 

First Prize, Rosario Miniprint, Argentina

2016 

Honorific Diploma, Ural Triennial of Printmaking, Ufa, Russia

Second Prize, V. International Printmaking Competition, Istanbul, Turkey

2015 

Award for promoting Graphic Arts, Splitgraphik, Croatia

Special recognition, International Graphic Salon, Kraljevo, Serbia

2014 

Honorific Mention, Rosario Miniprint, Argentina

First Prize, Kazanlak Miniprint, Bulgaria

Graver Maintenant Award, 30th Contemporary Print Salon, Paris, France

2013 

First Prize, Ural Triennal, Russia

City of Ploiesti Award, Iosif Iser biennial, Romania

Award for “originality and breaking the boundaries of classical technique”, International mezzotint Festival, Yekaterinburg, Russia

2009 

Guanlan International Print Prize, Guanlan, China

Honorific Mention, 1st Fushun International Biennial, China

2006 Grand Prize, Bharat Bhavan Art Print Biennial, Bhopal, India

传统的版画技术为什么至今还在使用并在全世界的艺术家中间如此流行？ 他们为什么一次又一次地使用这些技法？ 今天为什么创作版画？ 也许是因为版画才是表达当今社会的一种准确的方法吧！

许多人会想到图像的复数性问题，或者会考虑量产下价格幅度的可承受性。 错！ 我们并非为了复制图像而从事版画，我们为了生成图像才创作版画。 版画的制作方式允许了其复数性，但并非必须，而采用版画技法的真正且唯一的理由是它们带来的纹理、效果和“rendu”。

制作版画，首先须要喜欢版画的材料。我们须得欣赏金属版的触感、石版层次的细腻、油墨的气息。版画是由数千个细节构成的，对观众来说它们多数时候是无法目测的，却是画家不可或缺的。艺术家与工具和材料之间的关系密不可分。工具以及即将出现的母版都是创作过程的一部分，与图像上的反光同等重要。对于每种技术而言，基本材料至关重要：金属、石材、木材、亚麻布，它们带来各自的难题、特性与不同。它们的选择与使用直接取决于即将构建的图像和需要展开的创意，它们之间有着紧密的内在联系。图像的演绎也需要遵循材料的特征，否则无法达到完美的境界。这并非意味着这些技术不能支持进步，也并不意味着技术限制着艺术家，完全不是！艺术家控制技术。

几个世纪以来，版画一直紧贴社会技术的发展。 工具变得越来越精确，化学知识的运用在当今版画制作过程中起到重要的作用。 比如蚀刻，在几乎任何地方，盐的应用改变了硝酸的使用，它减少了工艺污染却不会造成功效的损失。 再比如凹版、石版和丝网印刷中所有的照相制版，尽管我们可以考虑数字处理为木刻或蚀刻带来的可能性。 版画绝对不脱离社会，其流程可以适应所有当下技术，但最有趣的是它依然可以保留传统的特征。版画制作是我们可以在专有技术与从该专有技术中获得的敏锐度之间建立联系的完美案例。

所有的版画技术都是间接技术。 艺术家在母版上工作，并由它转印成图像。少有相当直接的技法，如美柔汀、干刻、镂刻、木刻和布刻，不似蚀刻、飞尘或石版，它们不需要化学的媒介。 对于这些较为直接的技法，艺术家用手工作，画稿并使用特殊的雕刻工具。 这看起来也许显得有点过时，但是对艺术家和观众来说却是极大的满足。至少观众可以沿着细节和制作方法进入图像。

就个人而言，我喜欢版画创作的每一个步骤。我喜欢金属在整个摇点过程中的变化方式，从颜色到质地。 我喜欢看到它的成熟，并通过雕刻、打磨等方法用光去赋予它生命。我喜欢尽可能地减少绘画但以最大的有效性为观众提供尽大的创作空间本身。 我喜欢选择纸张并剪切，让它恰恰成为须要印刷的图像的形状。 我喜欢调制印墨，计算它应该具备的透明度、质感、柔软度，注意它色调的精准以获得最佳的效果。 我喜欢找到非常精确的压力，以便从印版中吸取所有的细节并且避免任何损坏。 对我来说，制作版画是敏感的， 你必须去感觉它。

所有的版画家都有自己的程序和创建图像的习惯。与画家、雕塑家、摄影师等其他艺术家一样，创作是与自我的战斗、与元素的战斗、与材料抵抗的战斗。与其他艺术家一样，这场比赛的最终裁判是我们，我们制定规则。

对一种技法的深入了解并非表达本身的障碍，它应该是推动表达的发动机之一。一旦掌握了足够的技法知识，艺术家可以专注于图像并忘却与实现图像相关的任何技术问题。 甚至，当他将技术带入创作，可以让技术不过于拘泥传统而走得更远。

创作即沟通。 艺术家尝试与他人建立联系。要做到这一点，艺术家首先必须借助他选择的媒介和获得的材料保持与自我的沟通，从而尽一切可能与观众产生交流。

版画技术并不古老，与绘画和雕塑技术相比，它们几乎属于新颖技术。

Why the traditional techniques of printmaking are still in use and so popular for the artists all over the World? Why do they use those techniques again and again? Why doing printmaking, today? Probably because printmaking is an accurate way to express our actual society!

Many will think about the multiplication of image, or the affordable scale of prices for the largest number. Wrong! We do not practice printmaking to reproduce images, but to produce it. The printmaking mediums allow producing edition, without any obligation about, but the real and only reason to use printmaking technique is the spectrum of texture, effects and "rendu" they bring.

To make printmaking, we must love the printmaking material. We must appreciate the touch of metal, the softness of the lithographic stone, the smell of inks. Printmaking is made of thousand details, most of the time invisible to the viewer, but which make the artist feeling the need to use them. The relation between the artists and the tools and material is inseparable. Tool and matrix to come are part of the creation process, at the same level of the reflexion on the image. For each technique, the basic material is important: metal, stone, wood, lino, they all bring with them their difficulties, their specificities and their character. They will be chosen in direct relation to the image to create, the idea to develop. They are intimately linked. The image will be developed in the respect of material or nothing will happen at least in a perfect way. It do not means those techniques cannot support evolution, far from this. And it do not means technique rules artist, never at all! Artist controls technique.

Printmaking, throughout centuries, has always been close to technical evolution of our society. Tools became more and more precise, knowledge of chemistry play an important role the process of the today's printmaking. Just think about etching: use of nitric acid has been changed by utilisation of salts, almost everywhere, less polluting and without any loss of efficacy into the process. We also can think about all the photo transfer processes, in intaglio as well as lithography and silkscreen. We can although think about the spectrum of possibilities digital process can bring to woodcut or etching. Printmaking is absolutely not apart from society, the processes can be adapted to all the actual technologies, but what is even more interesting is that it can also keep the character of the tradition. Printmaking is a perfect example of the link we can create between knowhow and the acuity we can take from this knowhow.

All printmaking techniques are indirect techniques. The artist works onto the matrix and the image is printed from it. Few are quite direct: mezzotint, dry point, burin, woodcut and linocut do not need chemistry like etching, aquatint or lithography. For those more direct techniques, the artist works by hand, drawing, almost sculpting with typical tools. It may seem obsolete, but it is a great satisfaction for the artist and the viewer. At least, the viewer can stick to details and manner to enter into the image.

On a personal base, I enjoy every step of creating a print. I like the way metal change throughout the process of rocking, its change of color, of texture. I like to see its matiness and give it life by making the light coming by sculpting, polishing etc. I like to draw as less as possible with a maximum of efficiency for the viewer, giving him a large space of creation itself. I like to choose the paper, trim it, and bring it to the exact shape for the image to be printed. I like to prepare ink, calculate the amount of transparency it should have, texture, softness, looking the fine-tuning of the color to create the best result. I like to find the very accurate pressure to take out all details from the plate and avoid any damage. For me, printmaking is sensitive; you must feel it.

All printmakers have their own procedure, their own habits for creating images. As any other artist; painters, sculptors or photographers, creating is a fight against ourselves, a fight against elements, a fight against material resistance. As any other artists, the ultimate judge of the fight is us, we do fix the rules.

Deep knowledge of a technique is far to be an obstacle to expression itself. It should be one of the motors that drive it. As soon as the knowledge is quite strong, the artist can concentrate to the image and forget any technical problem linked to the realization of the image. More, he can go further in making the technique less traditional by making it evolve.

Creating is communication. The artists try to get into contact with others. To do it, he first have to be in communication with himself, with the medium he choose, with material he has access and give all of the capacity to communicate with the viewer.

Printmaking techniques are not ancient techniques. Compared to painting and sculpture techniques, they are almost new technologies. 

标题/ Title：《佛晓2》/ Aux aurores 2

技法/Techniques：美柔汀/ Mezzotint

规格/ Dimension (CM)：20 x 30

创作年代/Creation YEAR：2019

标题/ Title：《佛晓1》/ Aux aurores 1

技法/Techniques：美柔汀/ Mezzotint

规格/ Dimension (CM)：20 x 30

创作年代/Creation YEAR：2019

标题/ Title：《夜曲1-3》/ Nocturne 1-3

技法/Techniques：美柔汀/ Mezzotint

规格/ Dimension (CM)：26x20

创作年代/Creation YEAR：2018

标题/ Title：《黎明2》/ Aube 2

技法/Techniques：美柔汀/ Mezzotint

规格/ Dimension (CM)：20x60 

创作年代/Creation YEAR：2018

标题/ Title：《夜曲2-2》/ Nocturne 2-2

技法/Techniques：美柔汀/ Mezzotint

规格/ Dimension (CM)：66x50

创作年代/Creation YEAR：2018

2005巴黎l'Atelier d'En Face书店首展十五幅版画作品

2015至今全心投入版画创作

2005 First exhibition of fifteen prints in the bookstore l'Atelier d'En Face Paris

2015-present Full time dedication to printmaking activities 

参展与获奖

2019 

巴西坎皮纳斯《黑色方法》展

俄罗斯叶卡捷琳堡第5届国际美柔汀节

法国巴黎大皇宫善本交易会《当代版画中的书商》

2018

法国塔恩岛版画三年展 / 二等奖

印度巴特纳《印度美柔汀》展

法国巴黎流行版画协会《Minimenta》展

美国康涅狄格州当代版画中心第6届《脚印》双年展

法国塔恩岛版画三年展

Landerneau儿童图书奖

2017

俄罗斯叶卡捷琳堡第4届国际美柔汀节

法国孔夫朗-圣奥诺里讷《10X15双年展》

2016

法国格拉沃利讷绘图与印刷博物馆《第1届版画双年展》

中国北京虚苑国际版画双年展

波兰罗兹国际版画双年展

法国卡斯尔-萨拉辛《Estampadura》版画展 

法国厄尔-卢瓦尔省德勒市《德勒国际迷你版画双年展》

法国吉伦特省波尔多《寻找小野兽》

法国巴黎第11届视觉艺术博览会 / 评审奖

Exhibitions & Awards

2019

Mostra Maneira Neira, Campinas, Brazil

International Mezzotint Festival V, Ekatrinbourg, Russia

« Les bouquinistes dans la gravure contemporaine », Salon du livre rare, Grand Palais, Paris, France

2018

2nd Price, Print Triennial, L’isle sur Tarn, France

Mezzot’india, Patna, India

Minimenta, Association pour l’estampe populaire, Paris, France

6Th Biennial Footprint (Center for Contemporary Printmaking, Connecticut, USA

Print Triennial, L’isle sur Tarn, France

Landernau Children’s Book Award

2017  

International Mezzotint Festival IV, Ekatrinbourg, Russia

Biennale 10 x 15, Conflans-St-Honorine, France

2016

First Print Biennial, Musée du dessin et de l'estampe, Gravelines, France

Xuyuan International Print Biennial, Beijing, China

International Print Biennial Lodz, Poland

Estampadura, Castel Sarrazin, France

Dreux Miniprint International Biennial, Dreux, Eure-et-Loir, France

«Chercher la petite bête», Bordeaux ,Gironde ,France

Jury’s Award, Salon des arts visuels du 11ème, Paris, France

标题/Title：《我守着你》/ Je veille sur vous

技法/Techniques：美柔汀/ mezzotint

规格/ Dimension (CM)：30x40

创作年代/Creation YEAR：2020

另一幅变异了的标志性的巴黎屋顶，高个子的黑衣女人，张开一对黑色的翅膀，仿佛正监视着这座城市。 这幅作品完成于2020年3月至4月的“封城”时期，当时的巴黎出奇地平静、空旷、沉默。

标题/Title：《锌幽灵》Les fantômes du zinc

技法/Techniques：美柔汀/ mezzotint

规格/ Dimension (CM)：30 x 30

创作年代/Creation YEAR：2016

这幅作品是围绕几个经典主题进行的变异创作：巴黎的屋顶，城镇之夜，另外还掺上了一些我喜欢的元素：青烟做成的鬼魂，眨着亮闪闪的眼睛出没屋顶的奇怪生物。我是个幽灵世界的超级粉，我喜欢把那些稀奇古怪的存在混合到特别经典的风景里。

这件版画，包括此次甄选的后续几件作品，可谓我的一种城市景观处理方式的举例：这些图像并非基于真实存在的风景，而是基于对它的构想、记忆或者梦想。

标题/Title：《喀尔巴阡城堡》 / Le château des Carpathes

技法/Techniques：美柔汀/ mezzotint

规格/ Dimension (CM)：30 x 20

创作年代/Creation YEAR：2018

这幅作品是向儒勒·凡尔纳（Jules Vernes）及其小说的致敬，我借用他的小说名作为我的版画标题。 实际上，那部小说相较我的画面诠释要理性得多，也不那么哥特（怪诞）。 但是我喜欢在树木、云层和所有类似的风景上做文章，很怪诞也有一点幼稚。

标题/Title：《17点39分的美人鱼》/ La sirène de 17 h 39

技法/Techniques：美柔汀/ mezzotint

规格/ Dimension (CM)：30 x 20

创作年代/Creation YEAR：2018

在城市景观中植入一个童话生物（受《巴黎北站》和《巴黎东站》的启发，但无异于其他的是：记得、梦得却终不得精准还原之 ）。

特别鸣谢活动赞助单位：康颂中国

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