The second China Print-making Exhibition presented 323 prints. The picture showed the visitors appreciating the art works.
In the morning of October 10, the second 2016 China Printmaking Exhibition officially kicked off at China Printmaking Museum in Guanlan, which was jointly organized by the Chin Print-making Society, the Publicity Department of Heilongjiang Province, the Heilongjiang Art and Literary Association, and the China Guanlan Original Printmaking Base and was hosted by China Printmaking Museum, Heilongjiang Art Museum, Heilongjiang Printmaking Collection and Qi Art Culture Co., Ltd. Jiang Lu, the chairman of Printmaking Association of the China Artists Committee, Ji Shiwei, the vice president of Heilongjiang Art and Literary Association, and 80 other guests from at home and abroad attended the opening ceremony. It is reported that the exhibition exhibited 323 works, and would open from October 10 to November 20.
At the opening ceremony, Liang Yu, the vice chairman of the Guangdong Artists Association and vice chairman of the Shenzhen Art and Literary Association, Kang Jianfei, the curator of the exhibition, Kang Jianfei, the exhibition planner and the vice director and secretary-general of the Artistic Committee of the Chinese Artists Association, and Jiang Lu, the chairman of Printmaking Association of the China Artists Committee made wonderful speeches. He expected that the Chinese Printmaking Museum would become the new impetus of Heilongjiang printmaking to the world. Jiang Lu had high expectation of the inheritance and development of printmaking in Heilongjiang, the Great Northern Wilderness and highly appreciated the theme of China Printmaking Exhibition. Heilongjiang has a rich and colorful history of printmaking. Three generations of the Great Northern Wilderness created a large number of outstanding works, which made a far-reaching impact on Chinese printmaking.
It was learnt that, the second 2016 China Printmaking Exhibition was arranged according to the history of printmaking. The rise of printmaking was in the Great Northern Wilderness in the 1950s, which was a unique form of socialism with Chinese characteristics. It fully illustrated the collective consciousness of that era. Throughout the development of Heilongjiang prints in the past 60 years, we could clearly see that the development and changes of art were closely related to the changes of the society. Looking at the history of Heilongjiang printmaking for sixty years, we could clearly see the shift from respect for collective consciousness to respect for individual choice values. The purpose of this section in the exhibition was to show the history of the development of Chinese printmaking, to trace the origin of contemporary printmaking, and finally to achieve a clear aim as its core purpose. It was hoped that the China Printmaking Exhibition could become a unique research method, accumulating evidences as first-hand information for future academic research.