Exhibition Opening at CAA in China

Report from Hangzhou, CAA | 17th October, 2025

Upon recommendation by the Contemporary Chinese Arts Tasmania Incorporated (CCATInc), two Tasmanian printmaking artists, Jan Hogan and Raymond Arnold, are participating in the "4th CAA Printmaking Triennial" held at the China Academy of Art Museum in Hangzhou, China, which officially opened on October 17, 2025.

This exhibition is divided into four chapters: "Classical and Romantic – The Prologue to Modernism", "Printmaking as a Historiography", "Medium of Interfluidity", and "Print of Being". The participating artists hail from all over the world, including the United States, the United Kingdom, Sweden, Ireland, and Japan.

Our association is the sole coordinator responsible for recommending Australian artists to participate in this Triennial. The fact that the works of these two participating artists were prominently placed by the organizers in key locations throughout the venue highlights the significant importance of their artwork in this exhibition. Congratulations to the two Tasmanian artists.

Our association will continue to recommend Australian artists for the upcoming "5th CAA Printmaking Triennial" and other art exhibitions at the China Academy of Art in China. We welcome you to contact us.

The media coverage of this exhibition is reposted here; a specific report on the artworks will follow.

https://mp.weixin.qq.com/s/81dNLCYmbhxlV7JU7xWe-Q

The 4th CAA Printmaking Triennial

Preface

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.

艺术家Artist

克劳德·洛兰｜Claude Lorrain、威廉·透纳｜J. M. W. Turner

部分展出作品：Part works

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

参展艺术家Artists

奈文·阿拉达｜Nevin Aladag、理查德·奥尔林｜Richard Arlin、扎多克·本·大卫｜Zadok Ben David、海伦·坎莫克｜Helen Cammock、多洛斯·克罗斯｜Dorothy Cross、谢默斯·希尼｜Seamus Heaney、伊野真亚希｜Aki Inomata、丹尼尔·诺｜Daniel Knorr、李 昶｜Lisa Chang Lee、拉尔斯·耐博格｜Lars Nyberg、丽娜·诺顿斯特伦｜Lina Nordenstrom、凯西·里斯｜Casey Reas、扬·斯·维尔纳｜Jan St Werner、马克·提施纳｜Mark Titchner

雷蒙德·阿诺德｜Raymond Arnold、曹 欧｜Cao Ou、方力钧｜Fang Lijun、高文谦｜Gao Wenqian、高 哲｜Gao Zhe、郭 浩｜Guo Hao、韩 沁｜Han Qin、简·霍根｜Jan Hogan、胡贤武｜Hu Xianwu、季云飞｜Ji Yun-Fei、康剑飞｜Kang Jianfei、孔 亮｜Kong Liang、寇疆晖｜Kou Jianghui、李长兴｜Li Changxing、李双强｜Li Shuangqiang、李亚平｜Li Yaping、李 彧｜Li Yu、刘 波｜Liu Bo、刘海辰｜Liu Haichen、刘 强｜Liu Qiang、刘益春｜Liu Yichun、马丁·莱文｜Martin Levine、牛智颖｜Niu Zhiying、倪华夏｜Ni Huaxia、潘 黎｜Pan Li、施 慧｜Shi Hui、宋光智｜Song Guangzhi、陶加祥｜Tao Jiaxiang、托马斯·武｜Tomas Vu、王家增｜Wang Jiazeng、熊永平｜Xiong Yongping、薛绍雄｜Xue Shaoxiong、许晨韬｜Xu Chentao、于 洪｜Yu Hong、杨 锋｜Yang Feng、杨宏伟｜Yang Hongwei、姚古平｜Yao Guping、姚元鲁｜Yao Yuanlu、张 昊｜Zhang Hao、张广慧｜Zhang Guanghui、张 炼｜Zhang Lian、张 良｜Zhang Liang、张战地｜Zhang Zhandi、周吉荣｜Zhou Jirong、周仲铭｜Zhou Zhongming、洛雷娜·萨尔塞多-沃森｜Lorena Salcedo-Watson

————————————————————————————————————

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)

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