At the opening ceremony, Mr. Liangyu, the deputy director of Guangdong Provincial Artists Association, Shenzhen Municipal Culture Association, Mr. Kang Jianfei, the curator of the Exhibition, the deputy director and the deputy secretary-general of Print Art Committee of Chinese Artists Association, Mr. Ji Shiwei, the deputy director of Heilongjiang Provincial Culture Association, and Mr. Jianglu, the director of Print Art Committee of Chinese Artists Association, have given wonderful and inspiring speeches. Mr. Ji Shiwei has expressed his admiration on the fact that the print art of Heilongjiang Province, has transformed from the high regard of collective consciousness to the respect of individual values, and he also aspires that China Printmaking Museum will be turned into the new driving force of “Heilongjiang print art” to the world outside. Mr. Jianglu expressed his high expectation on inheriting and developing the printmaking art of Heilongjiang Province and the Great Northern Wilderness. He also admires the fact that the theme of the Exhibition has been settled precisely. That the printmaking art of Heilongjiang Province has an array of creativity, and the three generations of artists have made great efforts to create abundant excellent works, has made profound impact on Chinese printmaking art.
Mr. Jianglu, the deputy director of Guangdong Provincial Artists Association and the director of Print Art Committee of Chinese Artists Association, is giving a speech.
Mr. Kang Jianfei, the curator of the Exhibition, the deputy director and the deputy secretary-general of Print Art Committee of Chinese Artists Association, is giving a speech.
The 2nd Chinese Printmaking Exhibition in 2016 is going to re-organize the developmental process of Chinese printmaking art in different periods individually. The collective printmaking creation is probably the most typical Chinese artistic definition and it is also an unavoidable important stage of Chinese printmaking development, in which Heilongjiang collective printmaking is most characterized. Starting up in the 1950s, the printmaking art of the Great Northern Wilderness has given birth to a unique socialist creating style with Chinese characteristics, and it has expressed fully the collective consciousness of that age. In the development of six decades of Heilongjiang printmaking art, it is clear that the development and change of art have been closely connected to the individual contemplation and changes of the artists, as well as the vicissitudes of the times. Also, it is clear that the continual transition from the high regard of collective consciousness to the respect of individual values.