Printmaking and drawing are fundamental forms of human artistic creation. Though their appearances and techniques differ greatly, both forms embody artists’ profound explorations of technique, medium, and expression. “Tiangong Kaiwu”, a legacy of Ming dynasty Chinese scientist Song Yingxing, stands as a comprehensive work on ancient Chinese craftsmanship and scientific spirit. Its documentation of woodblock printing, ink usage, and material selection laid the groundwork for the development of printmaking. This exhibition begins with the spirit of “Tiangong Kaiwu”, presenting outstanding works by Eastern and Western artists to examine the technical heritage and contemporary potential of these art forms.

In the West, printmaking emerged in the 15th century with techniques like copperplate etching, drypoint, and lithography. During the European Enlightenment, printmaking became a vital medium for spreading knowledge and ideas. German printmaker Albrecht Dürer’s masterpieces such as Apocalypse and Rhinoceros represent the pinnacle of Western printmaking with their intricate details and creativity. In the modern era, Andy Warhol’s Marilyn Monroe series redefined printmaking by merging commercial elements with art, demonstrating the medium’s modernity.

Drawing, considered the foundation of artistic creation, utilizes tools like pencil, charcoal, and pen on paper. Emphasizing lines and contrasts, drawing captures structural and inner essence. Over time, it evolved from a preparatory tool to a powerful art form. During the Renaissance, Leonardo da Vinci’s drawings, including Vitruvian Man and anatomical studies, showcased the integration of science and art. Michelangelo’s sketches for the Sistine Chapel ceiling epitomized mastery over human anatomy and motion. In the 19th century, Impressionist Edouard Manet broke from traditional meticulous drawing, using it to express personal emotions and style, thus elevating its artistic value.

The exhibition Tiangong Kaiwu: Exploration of Prints and Drawings reexamines the boundaries between technology and art while exploring the endless possibilities of traditional mediums in contemporary contexts. Highlighted works include a series of pencil drawings from the 1990s by Cao Jigang (China, b. 1955), vividly depict the ruins of the Great Wall, evoking a poignant sense of history. Riera i Aragó (Spain, b. 1954) “The Australia” manuscript series, inspired by family chronicles spanning 1735-1871. Ruprecht von Kaufmann (Germany, b. 1974) created narrative prints such as “Red Riding Hood 2” (Rotkäppchen 2) and “The Fisherman and His Wife” (Der Fischer und seine Frau). The former uses allegorical storytelling to symbolize the outbreak of war, transforming a previously simple and harmonious life into one of complexity and danger. The latter, inspired by Grimm's Fairy Tales, reflects on modern times and the obsession with the relentless pursuit of more. The “Recurrence” print series by Kim Tschang-Yeul (South Korea, 1929-2021) incorporates elements from “Thousand Character Classic” by Chinese calligrapher Wang Xizhi, with water droplets flowing across the text, symbolizing the fluidity of time and thought. The “Ecriture” series by Park Seo-Bo (South Korea, 1931-2023) explores the interplay between text and abstract art, featuring vibrant primary colors to enhance dimensionality. “The Beginning of Me” a print series derived from candid sketches created in 2006 by Tracey Emin (UK, b. 1963), explores vulnerability and self-reflection. Other notable works include rare sketches and prints by Sanyu, Martin Creed, Takashi Murakami, and Carol Prusa, among others.

Artists:
Cao Jigang
Riera i Aragó
Ruprecht von Kaufmann
Kim Tschang-Yeul
Park Seo-Bo
Dame Tracey Emin
Carol Prusa
Susanne Kühn
Sany
Robert Cottingham
Ruowang Liu
Richard Meier
Martin Creed
Takashi Murakami
Christoph Niemann