艺术之为书籍——2022年上海国际艺术家书线上邀请展Art as Book - 2022 Shanghai International Artist Book Online Invitational Exhibition
前言
范景中先生在《书籍之为艺术——赵孟頫的藏书与<汲黯传>》一文中谈书籍与艺术的关系及书籍历经几个世纪的命运，其中引用王国维先生在《古雅之在美学上之位置》中述美的两种形式说，第一种为材质（内容），第二种为表现技巧（形式），“三代之钟鼎，秦汉之摹印，汉魏六朝唐宋之碑帖，宋元之书籍等，其美之大部，实存于第二形式。”当书籍不再应用于实际生活，而是成为奢侈和珍奇之物受到观赏时，就发展出了它的艺术品格。自20 世纪以来，西方一些前卫作家、艺术家都曾步入手制书的行列，如卡夫卡、马雅可夫斯基、罗申科、杜尚、达利、安迪·沃霍尔等，这一批大师级的作家、艺术家的亲手之作，也使得手制书跨入到了艺术门类的范畴。艺术家书（Artist's Book）是艺术家通过对“图书空间”的巧思，将文字阅读与视觉欣 赏以及材料触感，自由转换并融为一体的艺术。艺术家书已不再囿于传统的“阅读”范畴， 他们将图书视为一个“空间”，把文字阅读、视觉欣赏、材质的触感甚至气味都作为创作的要素，开拓了这一空间的种种可能，为“阅读”留下了言外之意。脱离了实用为目的同时又跨多领域的特性，使艺术家书的创作天生具有实验性，虽然一本艺术家书的体量不大，却凝结了艺术家个人创作的独特观念，并综合了多种表达手法，如文学、印刷术、绘画、版画、纸艺、字体设计、书籍装帧，同时又涉及多媒体艺术的探索，如互动艺术和触感艺术等。当阅读在今天逐渐电子化和流俗文化滥觞的当下社会，艺术家亲手参与制作的“书”更显得弥足珍贵。国外的很多博物馆、图书馆、高校都设立了艺术家书的研究、收藏与教学部门，国内各大美术高等院校也陆续开展了艺术家书的教学工作，培养出了一批优秀的青年艺术家，做出了诸多丰富的作品，不断探索和拓展“书”与“阅读”概念的边界。中国传统版画与中国印刷史及书籍制作有着极为密切的关系，传统的阅读方式、装帧形式、古法造纸术与传统版画样态的生产、演绎和再创新密不可分，有丰富的内涵和探索的可能性。上海美术学院版画系正在筹建古版木刻与艺术家书工作室，以传统版画与海派文化为文脉依托，集研究、教学和 创作为一体，探索传统版画与当代艺术家书的链接之可能性和创新发展之路。本次艺术家书 邀请展旨在汇集和展示国内艺术院校之艺术家书相关课程的优秀师生作品和国内外独立艺 术家手制书作品，交流艺术家书的教学经验与特色探索之路，形成学术共同体，进一步为国 内艺术家手制书的发展凝聚力量。Introduction
Prof. Fan Jingzhong not only mentioned about the relationship between books and art ,but also the fate of books through the centuriesin his article Books as Art: Zhao Mengfu's Book Collection and the Biography of Ji'an , in which he quotes Wang Guowei, a master in Chinese culture, in The Place of Ancient Elegance in Aesthetics, as saying that there are two forms of beauty, the first being material (content) and the second being expression skills (form), ‘the three dynasties of the bell and tripod, the copy of the seal in Qinand Han dynasties, the rubbing from a stone inscription of six dynasties from Han to Wei and the Tangand Songdynasties, the ancient books of the Songand Yuandynasties, etc., the bulk of their beauty survives in the second form.’ When books were no longer applied to practical life, but became a luxury and a curiosity to be viewed, it developed its artistic character. Since the 20th century, some Western avant-garde writers and artists have stepped into the fields of handmade books, such as Kafka, Mayakovsky, Roshenko, Duchamp, Dali, Andy Warhol, etc. The handmade works of the master writers and artists have also made handmade books cross into the category of art.Artist's Book is an art which the artist freely transforms and integrates text reading with visual appreciation and material texture through the ingenuity of the ‘book space’. Artist's book is no longer confined to the traditional category of ‘reading’, but considers the book as a ‘space’, taking the reading of words, visual appreciation, the texture of materials and even smell as elements of creation, opening up the possibilities of the space and leaving words for "reading". They open up the possibilities of this space, leaving the meaning of ‘reading’ beyond the words. Artist’s book has abandoned practicability as its main purpose and acquire disciplinary characteristics. Although the volume of an artist's book is not large, it condenses the artist's unique concept of personal creation and integrates a variety of expressions, such as literature, printing, painting, printmaking, paper art, type design, book binding, and also involves the exploration of multimedia art, such as interactive art and tactile art. In today's society, where reading is becoming increasingly electronic and popular culture is abusive, the book personally made by the artists is even more precious.Many museums, libraries and universities abroad have set up research, collection and teaching departments for artists' books. Major art institutes and universities in China have also started teaching artists' books , training a number of outstanding young artists, producing many works, and constantly exploring and expanding the boundaries of the concepts of book and reading. Traditional Chinese printmaking has a very close relationship with the history of Chinese printing and book production, and the traditional way of reading, binding forms, ancient paper-making techniques are inseparable from the production, interpretation and reinvention of traditional printmaking patterns, with rich connotations and possibilities for exploration. The Department of Printmaking of Shanghai Academy of Fine Arts is preparing to establish the Studio of Ancient Woodcut and Artist's Book, which will explore the possibility of linking traditional printmaking with contemporary artist's book and explore the innovative development of the book by integrating research, teaching and creation based on the cultural lineage of traditional printmaking and Shanghai culture. This invitational exhibition aims to bring together and showcase the outstanding artist books which created by teachers and students related courses in domestic art institutes and universities, as well as the works of independent artists overseas, to exchange the teaching experience and the characteristic exploration of artist books, to form an academic community, and to further gather strength for the development of artist books in China.指导单位: 上海大学
特别支持单位: 复旦大学、广州美术学院、湖北美术学院、鲁迅美术学院、四川美术学院、清华大学美术学院、天津美术学院、西安美术学院、中国美术学院、中央美术学院、临汾市平阳木版年画博物馆 学术主持：蔡枫、沈雪江
策展人：桑茂林、赵蕾
展览执行：孙灵、公静静、王嘉逸、董亚媛、刘晓军、牛智颖、江梦玲
展览视觉：戴格格
徐冰、蔡枫、陈琦、倪建明、陈海燕、曹晓阳、佟飚、周崇涨、沈雪江、李磊、张烨、武将、桑茂林、张晓锋、刘益春、孙海垠、徐小鼎、董雪凌、付斌、谭坦、曹娅妮、母贝旎、赵国琦、吴娅妮、刘左、刘右、张乐、江超、董亚媛、刘晓军、张瑄、连培伟、龚倩玺、刘可心、高诗芸 、江梦玲、陈看、张小晨、张宇、于艺晗、赵悦、魏鸣萱、吴穷、苏静、赖泓秀、戴祝玉、黄肖铭、田潇宏、凌榕、陈诗玙、邓婉婷、王典、颜沛、曾芸、贺清、马涵棋、牛松婵、王千寻、王海容、胡嫣笑、接贵一、陶晗珂、曹度、Kanako Murakami、Kuniko Tadokoro、Lisa De Graef、Raphael Decoster、Rei Ishuhara徐冰 《地书立体书》-白本（2015）《地书立体书》-黑本（2016）材质：刚古钻白卡纸320g、250g、160g不等、无酸乳胶
蔡枫、张乐《如是湖山》木版水印45cm×640cm 2016年 （上海美术学院、中国美术学院）
陈琦《时间简谱· 红尘》手制书 60cm×50cm×4cm 2013年（中央美术学院）
倪建明《青花故事》纸质线装、凸版十水印扉页拱花(金丝楠木夹版) 8x11cm(两册) 2021年（复旦大学）
陈海燕、曹晓阳、佟飚、张晓锋《天工开物》手卷木版水印60×1128cm 2016年（中国美术学院）
张晓锋《京杭大运河》木版水印43×560cm 2022年（中国美术学院）
周崇涨《千里春江岸》平版510*48cm 2022年（中国美术学院）
李磊《君使轻舟泛桃花》(左) 《醉别西楼》（右）布上丙烯 2006
沈雪江《透过烟云静观山》木刻 42x60cm 2022.4
张烨《正学斋重订芥⼦园画传》水印木版 268x333mm 2014年至今（中央美术学院）
武将《访碑图卷——富春江》Fabriano 285克版画纸、油墨平版印刷175mmx255mm 2019年（中央美术学院）
桑茂林《他们》木版纸本 45x2000CM 2018年（上海美术学院）
刘益春《续幼学杂字》卷轴，木刻40×300cm 2015-2017年（西安美术学院）徐小鼎、董雪凌《阿弥陀经》纤维综合材料、木版画72cmx58.5cm（展开后）2017年（清华大学美术学院）
付斌《未来考古的谜题》石版印刷28X21.5cm 2022年（清华大学美术学院）
谭坦、曹娅妮《皇帝的新衣》riso印刷 12cm×19.3cm 2018年（中央美术学院）
谭坦、曹娅妮《谜集》Fabriano 285克版画纸、油墨、平版印刷34.8cm x 24.8cm 2021年（中央美术学院）
Kanako Murakami <Mary> 31.5x43cm 2008 Zerkall 270grams
Kuniko Tadokoro <DNA> 31.5x43cm 2008 Zerkall 270grams
Lisa De Graef <Cellular> 15x21.5cm 2014 Zerkall 250grams
Raphael Decoster <Helsinki> 16x19cm 2011.3 日本和纸
Rei Ishuhara <Story of Nothing> 2005 Zerkall 270grams
母贝旎《MEET》木版套色、雁皮纸、蜡线、线缝 30cmx 20cm 2020年（湖北美术学院）
颜沛《Litter+Thing》石版15×52cm 2021年 （四川美术学院）
黄肖铭《人民生活真美好》混合媒介24×17cm 2021年（广州美术学院）
吴娅妮、刘左、刘右《铸典新语》清字典残片、麻布、丝绸、宣纸、棉线、墨汁、炭笔、丙烯、胶水、水彩、金箔30×20cm 2022年（西安欧亚学院艾德艺术设计学院）
张乐《无间行者》数字绘画21.5x29cm x24p 2021年（浙江树人大学）
江超《蠹简》木版水印全套作品84册，11函单册尺寸：30×16×1CM 2008—2011年（中央美术学院）
董亚媛《月相日记》皮纸、铅笔、龙鳞装35×200CM 2020年（上海美术学院）张瑄《时间晶体》油墨、版画纸、木版印刷106cmx76cm 2021年（中央美术学院）
连培伟《寤寐集》45×200cm 手工书尺寸可变2017年（清华大学美术学院）
连培伟《哪吒》宣纸油墨尺寸可变2015年（清华大学美术学院）