标签：深圳美术馆

 

指导单位

Directed by

深圳市文化广电旅游体育局

Culture, Radio, Television, Tourism

and Sports Bureau of Shenzhen Municipality

主办单位

Hosted by

深圳美术馆

Shenzhen Art Museum

学术支持

Academic Support

波兹南艺术大学

University of the Arts Poznań

支持单位

Supported by

波兰驻华大使馆文化处、波兰国家科学中心、波兹南市政府、波兹南国家博物馆、深圳市前沿艺穗艺术中心

Polish Institute in Beijing, National Science Centre Poland, City of Poznań, National Museum of Poznań, Shenzhen Fringe Art Center

关于展览

二十世纪中叶，波兰海报学派以先锋姿态挣脱传统平面设计的桎梏，将街头海报重塑为哲学思辨的视觉剧场——它们既是电影院外墙的纸上革新，更是重构现代美学的宣言。这些穿越欧亚大陆的视觉文献，此刻在深圳美术馆展开跨文明的叙事对话。

The Polish School of Posters originated in the mid – 20th century. Its unique aesthetic has made it a distinctive presence in the global poster design community. Even now, Polish poster design continues to wield significant influence around the globe. The exhibition “Masters of Polish Poster – Górka, Świerzy and Marszałek”, hosted by Shenzhen Art Museum, seeks to unfold a cross-urban dialogue through the lenses of Shenzhen and Poznań.

本次展览聚焦波兰海报学派三位巨匠——维克托·古尔卡、瓦德玛·斯威兹、格雷戈里·马尔沙威克，揭示平面设计如何通过视觉语法革新介入公共话语。古尔卡用几何符号构建哲学隐喻，斯威兹以流动笔触捕捉生命张力，马尔沙威克则通过精妙的图形叙事展开视觉游戏。他们的创作从戏剧、电影海报到文化事件宣传，使平面设计超越了广告的实用框架，跃升为社会思潮的镜像与美学实验的载体。那些撕裂时空的拼贴叙事、迸发能量的色彩矩阵，不仅重构了波兰的文化身份，更在平面设计史中刻下独特的“波兰语法”。

This exhibition celebrates the extraordinary contributions of three legendary figures in Polish poster art: Wiktor Górka, Waldemar Świerzy, and Grzegorz Marszałek. As key representatives of the Polish School of Posters, each artist brought a distinctive vision that pushed the boundaries of graphic design and fine art. Their work, ranging from film and theater posters to sports and cultural campaigns, transcended simple advertisement, becoming powerful expressions of creativity, social commentary, and visual storytelling.Wiktor Górka’s minimalist and symbolic designs, Waldemar Świerzy’s vibrant portraits and dynamic compositions, and Grzegorz Marszałek’s intricate illustrations and playful use of form, all reflect the deep artistic experimentation that defined this movement. By combining bold typography, rich color palettes, and unique imagery, these artists not only influenced the cultural landscape of Poland but also left an indelible mark on global visual culture.

展览构建的多维度场域，邀请观众通过不同主题，穿透平面触摸视觉思维的革命轨迹。这些作品的价值不仅在于开创招贴艺术的黄金时代，更在于揭示最日常的媒介亦可成为美学革命的策源地。设计师们共同推动了海报设计从实用工艺向艺术表达形式的转变，这可以被视为波兰海报传统的瑰宝。而当这些先锋性的创作思维与深圳这座未来之城的创新基因相遇，实质是两种先锋精神在当代设计场域的价值互鉴。

This exhibition invites viewers to explore the diversity and innovation of Polish poster art through the lens of these masters, showcasing how they turned everyday visual communication into works of enduring artistic significance. Presented artworks were and still are celebrated not only for its technical innovations but for its ability to merge artistic, cultural, and social commentary with striking visual aesthetics. Each artist in this exhibition contributed to the transformation of poster design from a utilitarian craft to a respected form of artistic expression, what can be considered as a Legacy of Polish Poster Tradition. Through the works of Górka, Świerzy, and Marszałek, the exhibition traces the evolution of the poster as a medium capable of evoking strong emotional responses, while also serving as a tool for mass communication in different fields of social and cultural live.

深圳美术馆致力于将全球视野和深圳特色相结合，以设计和艺术链接城市美好未来，搭建跨文化对话场域，让波兰海报学派的先锋精神与深圳的创新基因碰撞。此次展览不仅是对现代设计史重要脉络的学术回顾，也是对大众媒介与艺术表达关系的深刻反思。

Shenzhen Art Museum is dedicated to integrating a global vission with Shenzhen’s local identity, using design and art to bridge the city’s promising future while creating a cross-cultural dialogue platform—where the avant-garde spirit of the Polish School of Posters collides with Shenzhen’s innate innovative spirit. This exhibition is not merely an academic retrospection of key threads in modern design history, but a profound reflection on the relationship between mass media and artistic expression.

本展览是策展人马特乌什·比钦斯基（Mateusz Bieczyński）教授进行波兰海报研究的成果，展览框架来自他的一个科学项目：“波兰海报学派——起源、演变、发展和传统”（ Polish School of Posters – Genesis, Evolution, Development, Tradition ）。该项目历时五年，得到了波兰国家科学中心（Narodowe Centrum Nauki, NCN）的大力资助，属OPUS研究项目。在研究过程中，策展人追溯了波兰海报设计的历史根源、艺术发展脉络及其传承，确定了维克托·古尔卡、瓦德玛·斯威兹和格雷戈里·马尔沙威克为三位关键贡献者，其作品体现了这一独特流派的演变历程。

The selection of these three artists is the culmination of extensive research conducted by prof. Mateusz Bieczyński, the exhibition’s curator, under the framework of a five-year scientific project titled “Polish School of Posters – Genesis, Evolution, Development, Tradition”. This project was made possible through a grant from the National Science Centre (Narodowe Centrum Nauki, NCN) as part of the OPUS program. Over the course of his research, Bieczyński traced the historical roots, artistic trajectories, and legacy of Polish poster design, identifying Górka, Świerzy, and Marszałek as three pivotal contributors whose works embody the evolution of this distinctive genre.

黑土浓情 · 一剪万象

深圳美术馆馆藏民间艺术暨百年方正剪纸艺术展

The Glories of the Black Soil:

Papercutting by Artists in Fangzheng and

Selected from the Collection of Shenzhen Art Museum

指导单位：

深圳市文化广电旅游体育局

黑龙江省文化和旅游厅

Directed by

Culture, Radio, Television, Tourism and Sports Bureau of Shenzhen Municipality

Department of Culture and Tourism of Heilongjiang Province

主办单位：深圳美术馆 方正县人民政府

Organized by

Shenzhen Art Museum

People’s Government of Fangzheng County

支持单位：

黑龙江省民间文艺家协会

黑龙江艺术职业学院

方正县文体广电和旅游局

Supported by

Heilongjiang Folk Literature and Art Association

Heilongjiang Vocational College of Art

Fangzheng County Cultural Sports Broadcasting and Tourism Bureau

展览总监：王新妮 王子蚺

Directors: Wang Xinni, Wang Ziran

策展人：黎晓阳 李原原 倪秀梅

Curators: Li Xiaoyang, Li Yuanyuan, Ni Xiumei

执行策展：张晓怡 任奕臻 张晓丹

Curatorial Execution: Zhang Xiaoyi, Ren Yizhen, Zhang Xiaodan

展览时间：2025年1月16日 – 2025年5月11日

Duration: January 16 – May 11, 2025

展览地点：深圳美术馆（新馆）一楼3号展厅

Venue: Hall 3, 1 F, Shenzhen Art Museum

前言

剪纸艺术是中国民间艺术的一块瑰宝。千百年来，心灵手巧的中华儿女运用剪刀在纸上剪刻出各式各样的花纹图案，装点节日的家园，寄托对美好生活的向往。在幅员辽阔的中国大地上，不论东西南北，都有着丰富多彩的具有地域特色的民间剪纸艺术。2006年剪纸艺术被批准列入第一批国家级非物质文化遗产名录；2009年中国剪纸成功入选联合国“人类非物质文化遗产代表作名录”，成为全人类共同的文化财富，彰显了中国优秀民族文化的独特魅力。

方正剪纸是中国黑龙江省哈尔滨市方正县的民间传统手工技艺，起源于清代中期，已有200余年的历史。方正剪纸以其贴近生活的题材内容和简洁、灵动的表现风格在中国剪纸艺术中占有重要一席。2008年方正剪纸被列入“国家级非物质文化遗产名录”。

深圳美术馆作为一座以城市命名的综合性美术馆，一直以来关注和重视中国民间美术的发展。2007年、2014年深圳美术馆先后两次举办方正剪纸艺术展并收藏了展览中的部分精品。在2025年蛇年春节到来之际，又适逢第九届亚洲冬季运动会在中国哈尔滨召开，同时也是在深圳与哈尔滨开展对口合作，全面推进粤港澳大湾区建设与东北振兴等国家重大战略对接融合的时代背景下，我馆邀请方正剪纸艺术家在深圳美术馆新馆再次举办剪纸艺术展，将具有东北特色的浓浓年味引入深圳，让剪纸这门古老的民间艺术呈现不一样的深圳表达。

让我们跟随剪纸艺术家的巧思与剪刻，一起感受剪纸在当代生活中焕发的激情与活力。

深圳美术馆

2025年1月

 

Preface

The art of paper-cutting is a treasure of Chinese folk art. For thousands of years, the ingenious Chinese people have used scissors to cut out all kinds of patterns on paper to decorate the home of the festival and express their yearning for a better life. In the vast land of China there are rich and colorful folk paper-cutting art with regional characteristics. In 2006, the art of paper-cutting was approved to be included in the first batch of national intangible cultural heritage list. In 2009, Chinese paper-cutting was successfully selected into the United Nations “Representative List of Intangible Cultural Heritage of Humanity,” becoming the common cultural wealth of all mankind and highlighting the unique charm of China’s excellent national culture.

The paper-cutting of Fangzheng County is a traditional folk handicraft in Fangzheng County, Harbin City, Heilongjiang Province, P. R. China, which originated in the middle of the Qing Dynasty and has a history of more than 200 years. Fangzheng County’s paper-cutting occupies an important place in Chinese paper-cutting art with its close-to-life theme content and concise and flexible expression style. In 2008, Fangzheng County’s paper-cutting was included in the “National Intangible Cultural Heritage List.”

As a comprehensive art museum named after the city, Shenzhen Art Museum has always paid attention to and attached importance to the development of Chinese folk art. In 2007 and 2014, the Shenzhen Art Museum held two art exhibitions of the paper-cutting from Fangzheng County and collected some of the fine works in the exhibitions. On the occasion of the Spring Festival of the Year of the Snake in 2025, coinciding with the 9th Asian Winter Games to be held in Harbin, China, and at the same time, under the background of the counterpart cooperation between Shenzhen and Harbin to comprehensively promote the construction of the Guangdong-Hong Kong-Macao Greater Bay Area and the revitalization of Northeast China, our museum invited paper-cutting artists from Fangzheng County to hold a paper-cut art exhibition again in the new venue of Shenzhen Art Museum, introducing the strong New Year’s flavor with Northeast characteristics to Shenzhen, so that the ancient folk art of paper-cutting can present a different expression of Shenzhen.

Let’s appreciate the ingenuity and carving of the paper-cutting artists from Fangzheng County, and feel the passion and vitality of paper-cutting in contemporary life.

Shenzhen Art Museum

January, 2025

 

 

 

{1}

关于展览

About the Exhibition

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展览地图

Exhibition Map

{3}

展览使用说明

Exhibition Instruction

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部分展出作品

Partial Exhibited Works

 

在人类探索宇宙的漫长旅途中，万物都有自己的计时方式。这是一切万物与天地时光的内在呼应，这种呼应是宇宙万象定律的永恒，也是人类对世界、宇宙意欲探索的表现。古人以日月为尺，从日光游移与月华盈缺中捕捉“时间”的踪迹。从说文解字和小篆字形来理解：“，四时也。从日寺声。”是日光的行走；“，间隙也。从门从月。”是月光的流动——于是，“时间”就灵动鲜明起来，光阴的抽象概念就此跃然于文明的肌理之上。古人对时间的概念源于光线的感知，昼夜时节是中国人创造的时间分隔的独特方式，而光在艺术作品中往往扮演着重要角色，艺术家们也通过画面中光感晦明在作品中表达出对时间的不同理解。

In humanity’s long journey to explore the universe, all things possess their own ways of marking time. This intrinsic resonance between existence and the rhythms of heaven and earth reflects both the eternal laws of the cosmos and humanity’s enduring quest to understand the world. Ancient people measured time through the sun and moon, tracing its passage in shifting daylight and the wax and wane of moonlight. As revealed in Xu Shen’s Analytical Dictionary of Characters and the etymology of ancient s: “”(shí, time), denoting the four seasons, derives from the sun’s movement; “”(jiān, interval), signifying a fleeting moment, combines the characters for “door” (门) and “moon” (月), evoking moonlight spilling through a threshold. Thus,“Time”emerges as a vivid abstraction, etched into the fabric of civilization. Rooted in the perception of light, the ancient Chinese conception of time divided days into segments of day and night. Light, in turn, has remained central to artistic expression, with artists across eras using its interplay with shadow to articulate diverse interpretations of time.

展览甄选深圳美术馆馆藏作品，从中挑选一批蕴含时间哲学和饱含生活情感的馆藏精品，作品涵盖国画、版画、水彩、综合材料等多重类型，共同勾勒出时间形态这一抽象概念的多维图景，以期将对时间的思辨转化为生动的视觉语言，通过作品中永恒和瞬息两个面向，为观者提供一个深读的思考。展览由“亘古静流”和“瞬息变焕”两个主题延展开来，“亘古静流”章节的艺术作品往往都带有艺术家的独特思考，传递着或多或少的象征和隐喻，甚至关于自然和宇宙的反思。“瞬息变焕”则聚焦于鲜活的生活，作品往往抓取生活中的一瞬，莹然呈现生命真性的美好。本展览已入选广东省文化和旅游厅2024—2025年度广东省美术馆青年策展人扶持计划。

This exhibition presents selected works from the Shenzhen Art Museum’s collection, showcasing pieces that embody philosophical reflections on time and resonate with the emotions of lived experience. Spanning Chinese painting, printmaking, watercolor, and mixed media, the works collectively outline a multidimensional vision of time as an abstract concept. By translating temporal contemplation into vivid visual language, the exhibition juxtaposes themes of eternity and transience, inviting viewers to reflect deeply on time’s dual nature. Organized into two thematic sections—“The Eternal Stillness” and “Fleeting Transformations”—the exhibition explores contrasting perspectives. “The Eternal Stillness” features works imbued with symbolic and metaphorical depth, often reflecting artists’ meditations on nature, existence, and the cosmos. “Fleeting Transformations” captures fleeting moments of vitality, distilling the raw beauty of life’s transient truths. This exhibition is part of the 2024-2025 Guangdong Provincial Young Curators Support Program, endorsed by the Guangdong Provincial Department of Culture and Tourism.

深圳美术馆始终坚持围绕学术定位展开收藏，多年来逐渐形成以中国画名家经典收藏、精品版画、当代油画、深圳本土艺术、深圳摄影等为主要板块的收藏特色。深圳美术馆（新馆）开馆以来，在“立足深圳、面向世界，立足时代、面向未来”的新学术定位下，打造了全新的“美在斯”深圳美术馆典藏系列展。“美在斯”源自深圳美术馆所藏、书画名家程十发先生于1986年题赠本馆的书法作品《美在于斯》，寓意美好的事物在此汇聚。此系列将依托馆藏资源，深挖不同板块藏品的学术价值，不定期策划相关展览，为引领社会风尚、传承文化发展汇聚新动能，推动新时代美术馆事业发展迈向新阶段。

Shenzhen Art Museum has consistently prioritized academic rigor in building its collection, which now encompasses iconic Chinese paintings, fine prints, contemporary oil works, local Shenzhen art, and photography. Since the inauguration of its new venue, the museum has adopted a redefined academic direction: “Rooted in locality, embracing the world; grounded in the present, envisioning the future.” This vision has inspired the “ Here Unfolds the Beauty” collection series, named after a 1986 calligraphic work (“Beauty Unfolds Here”) donated to the museum by master painter and calligrapher Cheng Shifa. The phrase symbolizes the convergence of beauty within these walls. Leveraging its holdings, the museum will continue to curate exhibitions that highlight the scholarly value of its diverse collections, fostering cultural heritage, shaping societal discourse, and propelling art institutions into a dynamic new era.

深圳美术馆

2025年4月

Shenzhen Art Museum

April 2025

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展览手册

Exhibition brochure

欢迎使用“时间之间”展览手册！展册按展区分为不同颜色，正面印有简介及重点作品介绍，背面可组成一张完整的展览海报。可根据推文中推荐观展地图，搭配展览手册中的作品介绍一起“食用”~

温馨提示：手册采用环保材质，每天限时发放，离场前可选择归还至回收盒循环使用，或带走作为纪念品收藏。

时间票据

Time ticket

进入展厅后，你将看到我们精心准备的互动墙。可以挑选你最喜欢的时间语句，沿虚线撕下，并在展览打卡处盖章。我们准备了带有每天日期的时间戳，供大家留存纪念。

温馨提示：票据数量有限，为了让更多人参与到展览互动中来，一人限量一张，请勿多拿噢。

*时间是(           )

*Postcard

啊？就走了吗？

我们邀请每一位来看展览的朋友，留下自己对于时间的感受 :）

写好卡片后可投递至展厅内的收集桶，我们将精选一部分悬挂于展厅内，作为展陈的一部分。期待大家的分享，与其他观众思想产生共鸣。