威尼斯美術學院，亞洲計畫 Academy of Fine Arts of Venice, Asia program
威尼斯美術學院，亞洲計畫
“…所有人表達的一切都應當保留為一個尋求擴展、改進和深化的問題。” 這是偉大行為藝術家約瑟夫·博伊斯的一句關鍵性話語，因為它很好地表達了威尼斯美術學院某些正在發展的培訓工作室的運作模式，例如由保羅·弗拉特納利教授主持的藝術圖形工作室。在2024年桃園青年設計展及國際設計論壇上，三位畢業於威尼斯美術學院的藝術家與他們的前導師保羅·弗拉特納利一起參展，他們跨越界限，與極具重要性的現實進行對話。當代的藝術圖形，其實就是一種由不同材料的印刷版和為功能內容組織的數位設計構成的結構。這些作品作為創意與思想的播種者，獲得了新的革命性和創新性力量：可以根據其歷史和時間背景進行分析和理性化，並觀察其形式和設計的一致性。此次展出的作品旨在推廣平面設計的概念，同時也深刻反思未來社會的發展，契合由桃園市政府青年事務局主辦的國際論壇的主題，論壇將於11月10日至18日舉行。事實上，可複製性是藝術圖形的特徵之一，正是這種特性使得同一個理念能夠與不同的設計解決方案相結合。這種表達技法所激發的過程在藝術家們的藝術文化教育中，無論是研究還是實踐方面，均起著至關重要的作用。
Academy of Fine Arts of Venice, Asia program
“…Everything that is expressed should be retained as a question seeking to expand, improve and deepen.” This key phrase from the renowned performance artist Joseph Beuys perfectly captures the approach of certain evolving training studios at the Accademia di Belle Arti di Venezia, such as the Art Graphics Studio led by Professor Paolo Fraternali. At the 2024 Taoyuan International Design Award and International Design Forum, three artists who graduated from the Accademia di Belle Arti di Venezia will exhibit their work alongside their former mentor, Paolo Fraternali. Together, they push boundaries and engage in dialogue with pressing contemporary realities. Contemporary art graphics are composed of structures formed by printed plates of diverse materials and digital designs organized for functional purposes. These works, acting as seeds of creativity and thought, have gained revolutionary and innovative power: they can be analyzed and understood through their historical and temporal contexts while maintaining consistency in form and design. The exhibited pieces aim to promote the concept of graphic design while deeply reflecting on the development of future societies. This aligns with the theme of the international forum hosted by the Department of Youth Affairs, Taoyuan City Government, scheduled to take place from November 10 to 18. In fact, reproducibility, a defining feature of art graphics, is what allows the same concept to be reinterpreted through different design solutions. The creative process inspired by this technique plays a vital role in the artistic and cultural education of these artists, influencing both their research and practice.
策展人 Curator
保羅·弗拉特納利 /
Paolo Fratenelli
保羅·弗拉特納利1964年出生于烏爾比諾，目前正致力於版畫藝術（金屬、木頭和塑膠載體的版畫）對環境低影響的方法論研究，同時注重對年輕人才的培養，教學主要是通過示範，以及必須針對時下話題進行探討的方式來鼓勵他們形成自己的原創性語言。保羅·弗拉特納利生活在科內利亞諾市（威尼托大區特雷維索省），作為版畫家、畫家在威尼斯瑪律加拉堡的文化協會自由工作室43工作，由伊拉莉亞·曼托瓦尼進行協助。
Paolo Fraternali, born in Urbino in 1964, is currently focused on researching environmentally low-impact printmaking techniques using metal, wood, and plastic substrates. He is also committed to nurturing young talent, primarily through hands-on demonstrations and encouraging them to develop their own creative language byengaging in discussions on contemporary issues. Fraternali lives in Conegliano, in the Province of Treviso (Veneto region), and works as a printmaker and painter at the Cultural Association Free Studio 43 in Marghera, Venice, with the support of Ilaria Mantovani.
策展人 Curator
傅森 /
Fu Sen
傅森，出生于山東青島，畢業於威尼斯美術學院多媒體藝術系，獲得學士和碩士學位，隨後在威尼斯大學攻讀當代藝術史博士學位。在學術與工作領域，他曾擔任威尼斯建築大學副校長助理，並在威尼斯雙年展研究中心從事研究工作。同時，他也作為威尼斯美術學院亞洲專案的學科專家，專注於雙年展相關主題的研究。
在策展方面，傅森參與了多屆威尼斯雙年展的平行展，擔任助理策展人、導演、聯合策展人及藝術家。他也組織並參與了多個國際專案，曾在紐約、北京和佛羅倫斯等地策劃當代藝術展。
Born in Qingdao, Shandong, Fu Sen pursued his passion for art at the Accademia di Belle Arti di Venezia (Venice Academy of Fine Arts), where he earned both his Bachelor’s and Master’s degrees in Multimedia Art. He then went on to delve deeper into Contemporary Art History as a doctoral student at the Ca’ Foscari University of Venice. Throughout his academic and professional pursuits, Fu Sen served as the Assistant to the Vice Rector at the Iuav University of Venice and contributed his expertise to the International Centre for Research on the Contemporary Arts of La Biennale di Venezia. Additionally, he contributed as an expert on Asian projects at the Venice Academy of Fine Arts, focusing his research on themes connected to the Biennale.
In the field of curatorial practice, Fu Sen has been actively involved in several parallel exhibitions at the Venice Biennale, taking on roles as assistant curator, director, co-curator, and artist. He has organized and participated in various international projects, curating contemporary art exhibitions in cities such as New York, Beijing, and Florence.
TAKE A LOOK AT OUR WORKS
致力於版畫藝術（金屬、木頭和塑膠載體的版畫）對環境低影響的方法論研究，同時注重對年輕人才的培養，教學主要是通過示範，以及必須針對時下話題進行探討的方式來鼓勵他們形成自己的原創性語言。
He is currently working on methodological research on the low impact of printmaking art (printmaking on metal, wood and plastic carriers) on the environment. At the same time, he pays attention to the cultivation of young talents. His teaching is mainly to encourage them to form their own original language through demonstration and discussion of current topics.
保羅·弗拉特納利
大西洋
……現代的「鐫刻」平面設計比過去更嚴格地審視事物，具備敏銳的認知及不設限的觀點，並透過持續不斷的比較捕捉脈落背景與力量無所不包的結構，成為助長觀察、理解和演變的 額外監控工具。因此，這件未完成的「Atlantic」圖像藝術就能激發意見，畢竟這是還在發 展當中的作品，就像是在追求擴大引申、改善和深入探索的問題一樣……研究也變成了創作……
Paolo Fratenelli
Atlantic
... The "engraved" graphic design today more than ever examines things rigorously, with a keen awareness and broad perspectives, capturing contexts and overarching frameworks of forces through continuous comparison, acting as an additional monitoring tool that helps observe, understand, and evolve. The "Atlantic" art graphic, therefore, serves as an impetus to provoke comments because, after all, it is a work in progress, like questions seeking expansion, improvement, and deepening... research becomes a work...
伊拉里亞·曼托瓦尼
花園前01
剝除外層！如同樹木會在秋天悄悄褪去外皮，以嶄新樣貌準備迎接即將在春天到臨的新氣象。唯有透過這種單純且未經修飾的方式，才能運用嚴苛的方法「產生/創造」。唯有如此我 們才能謙遜地面對藝術，展現最純樸無偽的自我。
Llaria Mantovani
Before the Garden 01
Strip away! Like trees in autumn; silently they renew themselves to be ready for the life that will knock on their door in spring. It is only in this measure of being just and unadorned that a rigorous methodology can be applied to "producing/creating." Only in this way can we humbly approach art, stripping ourselves bare.
辛齊亞·圖西尼
440 個步驟
這項研究是利用一連串的印刷所完成，是透過印刷以有形的敘事呈現無形概念的變形歷程。
將相同的矩陣以各種不同方式印在紙張上，利用無數次的壓印形成層次，讓每一次的印刷展現新穎且 意想不到的成果，這樣的概念最終變成鐫刻了符號的材料。
最終完成的作品每次都不同，使作品本身成為獨特的示範，並將材料所具備的無形可能性以可能的有 形形式表現出來，而這次的體現形式就是一塊盤子：是屬於無限當中的其中之一。
印刷和鐫刻成為藝術家思考及探索的機會，藝術家希望能透過作品說明相同概念能有無數的體現方式，及其於過程中又是如何產生變化。
這個過程代表著認知方法，以及對生成圖像的欣然接受，主觀意志與偶然的結合，最終就會轉變為頓悟。
Cinzia Tusini
440 steps
The research takes shape in this series of prints, which present themselves as a visible narrative of the history of the metamorphoses of invisible ideas.
The same matrix, the generating idea that becomes material engraved with signs, is printed on paper in many different ways, layering through numerous impressions and revealing something new and unexpected in each print.
The resulting work, each time different, presents itself as a unique example and reveals a possible visible form of the invisible possibilities possessed by the material, in this case, the plate: it becomes a piece, a portion of infinity.
Printing and engraving become an opportunity for thought and discovery for the artist, who seeks, through their work, to show how many ways the same concept can manifest and how it can change during the journey.
This process represents a way of knowing and the joyful acceptance of the generated image, where will and chance meet, transforming into epiphany.