— An Interview with Guo Hao, Project Director of “Eastern Impressions”

“From the perspective of painting, printmaking is the art form best suited to engaging in dialogue with international artists on equal footing, through a shared artistic language and aesthetic vision,” says Guo Hao, project director of Eastern Impressions: Fine Print Works Exhibition from Lancang-Mekong River Basin Countries. In his view, printmaking is more than a medium for artistic creation; it is uniquely suited to fostering cross-border cultural exchange. Artists from different countries can draw on a shared, well-established set of techniques while infusing their works with their own historical memories, regional heritage and artistic reflections. Through its imprints and imagery, printmaking also contributes to the preservation of local civilizations and the forging of cultural identity across the region. It is this combination of a shared artistic language and diverse cultural expressions that creates a broad space for artists from Lancang-Mekong countries to engage in dialogue on equal terms.

On November 6, Eastern Impressions: Fine Print Works Exhibition from Lancang-Mekong River Basin Countries 2026, a project supported by the China National Arts Fund under its 2026 Communication, Exchange and Promotion Program, will open in Vietnam before traveling to Laos and Thailand. Rooted in the long-standing cultural ties binding Lancang-Mekong nations, the exhibition brings together 118 outstanding prints by artists from China, Vietnam, Laos and Thailand. It is organized into three sections: “Historical Memory,” “Contemporary Innovation,” and “Cross-disciplinary Experimentation.” Through a diverse range of artistic expressions, the exhibition paints a multifaceted portrait of printmaking across the Lancang-Mekong region, tracing how different artistic traditions evolve through dialogue.

Guo Hao, former president of Yunnan Arts University; Second-Class Professor and doctoral supervisor; Vice Chair of the Comic Strip Art Committee of the China Artists Association and Vice Dean of the International Printmaking Research Institute of the Central Academy of Fine Arts. Photo provided by organizer.

Promotional Poster for the Vietnam Exhibition of Eastern Impressions: Fine Print Works Exhibition from Lancang-Mekong River Basin Countries 2026

Why Printmaking?

“If you place Chinese prints alongside those from other countries without labeling their countries of origin, sometimes it can be difficult to tell whether a work was made by a Chinese artist or one from another country,” Guo Hao says, reflecting on the shared artistic language of printmaking.

Techniques such as black-and-white woodcut, copperplate engraving, lithography and screen printing are practiced across different countries, forming a common technical vocabulary that enables dialogue among artists from diverse cultural backgrounds. Yet shared techniques do not mean uniform expression. In Guo’s view, what truly sets works apart is the artistic vision shaped by each artist’s deep roots in local culture. Working with similar printmaking techniques, artists from different countries develop distinctly different forms of expression, drawing on their respective histories, lived experiences and cultural traditions.

This is precisely the core message of the touring exhibition: to showcase both the cross-border commonalities of printmaking techniques and the distinctive cultural expressions embodied in the works. For participating artists, showing their works side by side is not merely an opportunity to present their achievements collectively; it also lets them gain deeper insight into artistic styles and creative philosophies from other countries.

118 Outstanding Prints Showcase Diverse Artistic Visions

The works featured in the exhibition were selected through a rigorous multi-round review process. More than 1,700 submissions were collected through a wide range of channels during the project’s preparatory phase, from which 118 works were ultimately chosen for display. The Chinese lineup includes standout works, among them award-winning pieces from past editions of the National Exhibition of Fine Arts of China and national printmaking exhibitions, as well as representative works from the International Printmaking Biennale of the Central Academy of Fine Arts and China National Arts Fund exhibitions. In addition, five printmakers from each of Vietnam, Laos and Thailand have been invited to present their latest works, sparking cross-border artistic dialogue.

The exhibition is organized into three clearly defined, progressively connected sections. “Historical Memory” digs into the historical roots and cultural narratives behind the works. “Contemporary Innovation” highlights artists’ experiments and breakthroughs with new materials and creative concepts. “Cross-disciplinary Experimentation” breaks down boundaries between print genres, encouraging printmaking to merge with video and other art media. Bringing traditional craft, contemporary expression and cross-media experimentation together, the exhibition offers a full snapshot of today’s printmaking ecosystem. The participation of artists from Vietnam, Laos and Thailand brings fresh outside perspectives to the show. With Chinese and international works displayed side by side, visitors can compare subject matter, carving textures, techniques and creative concepts, gaining an intuitive sense of the unique character and appeal of printmaking in each country.

Exhibition work Snowy Path to Seclusion, by Guo Hao, China.

Exhibition work Untitled AI, by Tinnakorn, Thailand.

Exhibition work Trap, by Sivilay, Laos.

Exhibition work Thanh Vinh Memories of the City (Have You Heard the News), by Thanh Vinh, Vietnam.

Rooted in Local Traditions, Advancing Cultural Exchange Across the Lancang-Mekong Region

Yunnan is a vital hub for printmaking in China. According to Guo Hao, Yunnan’s printmaking scene reached its creative peak in the 1980s and 1990s. Generations of local artists have taken root in this frontier land and drawn inspiration from its rich ethnic cultures. Their works have claimed many honors at major national showcases including the National Exhibition of Fine Arts of China and national printmaking exhibitions, forging a highly recognizable regional style within China’s printmaking landscape.

In Guo’s view, Yunnan’s strengths lie in both its artistic heritage and its geographic position. As China’s gateway to South and Southeast Asia, Yunnan has long enjoyed close people-to-people and economic ties with Lancang-Mekong nations, laying a solid foundation for cross-border artistic exchange. The tour’s stops in Vietnam, Laos and Thailand are intended to leverage Yunnan’s geographic proximity to these countries and use printmaking as a medium to connect artists across borders. By deepening understanding of printmaking scenes across the basin and fostering in-depth academic exchanges among creators, the project seeks to build momentum for long-term collaboration.

Beyond the Exhibition Hall: Deepening Academic Exchange

The project is more than a travelling showcase of artworks. International academic seminars will run alongside the exhibition at all three stops in Vietnam, Laos and Thailand. Printmaking specialists from leading Chinese art institutions — the Central Academy of Fine Arts, China Academy of Art and Xi’an Academy of Fine Arts — will join local artists, faculty and students to discuss topics including the global value of printmaking, emerging creative directions, and the development of printmaking training programs.

In Guo’s view, the value of this tour extends far beyond bringing artworks overseas. The seminars offer a face-to-face platform for creators and educators to swap creative practices, teaching approaches and artistic ideas, turning the cultural exchange from a simple display of works into a meeting of minds. Art is rooted in the cultural soil of each civilization yet keeps growing through dialogue and mutual learning. By gathering artists for discussions after the exhibition, the project further deepens exchanges at both the practical and scholarly levels.

Building on the Exhibition to Foster Long-Term Cooperation

Once the overseas tour concludes, the team plans to host a wrap-up exhibition in Kunming, bringing the fruits of this Lancang-Mekong artistic dialogue back home for domestic audiences to view prints from multiple countries up close and share in the outcomes. Building on this initiative, the team will continue to foster regular exchanges between Chinese art academies and their counterparts in Vietnam, Laos and Thailand, exploring long-term cooperation models such as student exchanges, joint creation and co-curated exhibitions to open up space for sustained artistic engagement.

From open calls drawing thousands of submissions to cross-border touring shows, from static artwork displays to vibrant academic dialogue, Eastern Impressions: Fine Print Works Exhibition from Lancang-Mekong River Basin Countries 2026 connects artists across the Lancang-Mekong basin through the shared language of printmaking. As Guo Hao envisions, this common artistic language helps creators from different nations build greater mutual understanding through exchange. While respecting cultural diversity, they explore new possibilities for inter-civilizational learning and artistic coexistence.

Rivers flow on, and so should artistic exchange—toward a future of lasting cooperation.

Click here to view the Chinese report

（Editors: Doe, Flynn)