<h1><b>迈克尔·坎普森的"儿童游戏" ：精雕细琢的极致</b><br /> <br /> <br />2011年，迈克尔·坎普森在悉尼著名旅游景点塔龙加动物园（Taronga Zoo）参加艺术驻留项目。这一项目在当时已开展了三年时间，吸引了很多赫赫有名的艺术家如约翰·奥尔森（John Olsen），伊丽莎白·卡明斯（Elisabeth Cummings）和尤安·麦克劳德（ Euan Macleod ）参与其中，并为维护修葺这座位于海港边的动物家园而筹集资金，其总数超过三十万澳元。尽管动物园里充满了珍奇宝贵的野生动物，坎普森对那些活蹦乱跳的生物却并不感兴趣，吸引他的反而是在纪念品店里不起眼的毛绒玩具例如小袋鼠，青蛙和熊猫等。在他的作品动物与植物（Flora and Fauna，2011），过去与现在（Past and Present，2011）和快与慢（Slow and Fast，2011）中均有动物玩偶的形象出现。起初这些动物形象通常伴随着其他元素，如在动物与植物中，一边展示着排成三行三列的填充动物，其中包括树袋熊，青蛙和长颈鹿，另一边则是排成一行的斑克木荚。充满童趣的玩具唤起家的味道，而相比之下，斑克木荚则仿佛陈列在植物学家的桌上一样。<br /> <br />在坎普森的作品中，人为设计的物品如可乐瓶和啤酒罐，自然界的元素如斑克木荚，石头和贝壳都充满隐喻并频频出现，而毛绒玩具与两者截然不同。首先，前面提到的人造物品多为废弃物，被消费后丢弃，被醉酒者遗忘。而动物玩具却是簇新的，从未被拿下货架，从未像真正动物那般经历过风雨。再者，作品的废弃物代表着消耗品，而动物玩具自然是对自然界动物的再现。如此使得坎普森的作品再现已经被再现的，隐晦曲折，画中有画。这双重镜般的游戏正如版画的技法一般，作品在铜版上完成，然后如变魔术般转换到最终的界面上。对孜孜不倦，用几十年的时间反复思考，完善精熟其技巧的版画家迈克尔·坎普森来说，这样的成果不足为奇。从那以后，他延续此次灵感，开始以儿童毛绒玩具为主体创作了一系列作品，其中属最新系列作品"儿童游戏"最为宏伟瑰丽。<br /> <br />据坎普森回忆，是他的第一个外孙小杰森·肯尼（又称JJ）的诞生为他指引了创作的方向。如果要深入了解这一系列作品，可以参考诗人威廉·叶芝（William Yeats）写与1919年的著名诗篇《为我女儿的祈祷》（A Prayer for My Daughter）。但不同于叶芝专横的父亲形象——自我的危机感驱使他抑制自己的后代，想让她成为十九世纪理想女人的模范：如 "植物一般安静，无知与温和" ，嫁得一个金龟婿完成人生最终任务。相比之下，坎普森的视觉诗歌是更加委婉而开放的。但对下一代即将面对未知命运的忧虑在两者作品中均有体现。看着自己的孩子们长大，离家，组建自己的家庭，隔着距离的祖父母们早已知道争吵总会有的，但他们可以解决，困难总会有的，但他们可以克服。并非老生常谈，他们饱经世故的人生经验提醒他们, 什么才是最可贵的。要把生命中的那些微小幸福的时刻牢牢抓住，譬如一个孩童牢牢抓住手中的泰迪熊的那一刻。正是这些无数的小时刻和偶尔去动物园游玩一天这样少有的经历编制在一起，构建出生命的本质。<br /> <br />值得注意的是，随着坎普森这个系列作品的进展，他逐渐在与蝉印版画工作室（Cicada Press）中和同僚及其他版画艺术家的文化交流中进行创作，尤其是与国内以及亚太地区的艺术家。对很多艺术家来说，去建立这样一个供知识与文化交流的场所必然不堪重负，但是在蝉印工作室的辛苦奉献仅仅激发坎普森创作了更多作品。<br /> <br />纵观坎普森的作品，使我不禁想到诗人苏珊·斯图尔特（Susan Stewart）在她的小众经典《论渴望》 （On Longing，1984）中对纪念品和收藏品的思考。在书中，斯图尔特分析了两种类型的纪念品：第一类为可以随时购买的，为对某个经历的替代品，如埃菲尔铁塔模型（且不论树袋熊玩具是否能替代真实的树袋熊）；第二类是对人生事件的怀念，如生老病死，婚丧嫁娶。而儿童或许正因为缺乏人生经历而对第一类的纪念品情有独钟。看似为纪念品，这系列作品可以理解为是对子孙圆满生命历程的憧憬，愿他们也将经历大千世界的种种缤纷。斯图尔特指出与替代性的纪念品不同，收藏品往往蕴含着审美观念，被仔细挑选而收藏，与品味紧密相关。而在两类纪念品中均没有审美概念。收藏品的精美使其成为"一种值得玩味的艺术形式，一种对物品重新包装，以扭曲内容，引人注目的形式"（1993: 151）。此书的年代远远早于当今动荡不安的世界：特朗普上台，欧盟解体，虚假新闻泛滥，民主人士遭到迫害，这本书是对今人的严肃警告。作为收藏品，"儿童游戏"亦是以视觉形式让警钟长鸣。<br /> <br />相比较从驻留项目受到直接启发的作品，包括过去与现在（Past and Present，2011），一只树袋熊独自侧身遥望，而左边的小石子如监狱的门栅一般整齐的排成列，"儿童游戏"中平铺直叙的特点显而易见，全世界的国家都如纪念品般平放着。目前此系列已有38幅清晰明快的作品，并计划扩展到50幅。很容易想象出第51个或第146个（将是一只马耳他法老王猎犬），直到全世界264个ISO标准国家代码都对号入座。这样的空缺提醒着我们很多讨论在全球化的语境中，不均衡发展的现象往往被人忽略。同样地我们可以想象，这些小动物们为加入相邻群体成为联合权势，或有的被视为敌人而被放在对立面。这些都明确地体现在早期的作品中如如身体政治（Body Politic，2012），不详的礼物（Presents with Presence，2013）和东方和西方（East and West，2014）。在此概念下，刻意安排的位置成为深刻的隐喻。<br /> <br />斯图尔特提醒我们，收藏品通过隐喻发挥作用，而纪念品依靠借喻。比如坎普森的动物形象绘制出当今地缘政治的总形势。值得记住的是斯图尔特之所以这么说，或许是因为关于收藏最典型的例子便是诺亚方舟，其承载了世上每一种飞禽走兽。这个关于救赎的寓言故事的重点是确保能够在洪水之后复制先前存在的世界。而坎普森的方舟却毫无此意，不能复制繁衍，亦没有留下每种动物的一雌一雄。在这个系列里，每只动物的独特性给予了它们性格特点。如此，这些本来没有生命的玩具在不为人知处获得了自我意识，我们无从探究何处，却从线索中看出大概。<br /> <br />尽管它们各不相同，在每个动物身后左侧一致的阴影透露出它们被右上方戏剧性的光源照射着，它们的阴影是唯一的背景，否则它们便彻底从任何环境中抽离出来。在这虚空的背景里，必须面对未来，抛弃曾经的依靠，无论是惯例性的，科技上的还是天然的。必须共同面对未来，尽管我们迥然有别。拒绝把这些动物形象放入任何销售毛绒玩具的环境中，如国家景点，经典的立体布景或是商业货架，进而产生了一种无依无靠的感觉，而这可能是这个作品的最致命点。<br /> <br />在这系列之外，坎普森尝试过画面背景，如在PRK-KOR（2017）中，一只西伯利亚虎与神话里的千里马在木纹背景中相遇（南北两韩相聚幼儿园）。毫不奇怪的是，对于这种概念上的投机取巧，坎普森更感兴趣于在原有创作手法上对技术的创新，如使用激光印刻和胶印工艺达到如此栩栩如生的木质纹理。如此的直白，掩盖了作品的深奥寓意，同时又提醒人们作品无比平易近人的性质。哪个观众不喜爱如此简明欢快的可爱动物呢。国家官方符号和民间风俗的混合更加证明了此特点，例如用胖墩墩的可爱树袋熊代表澳大利亚而不是袋鼠或者鸸鹋，用斗牛犬代表英国而不是象征皇室的狮子。同时每种动物并没有标注着学名，以一种通俗的搭配方式呈现。不可否认地，这些动物为坎普森的作品增添了好玩有趣的风格。<br /> <br />然而根据文化评论家赛娜·纳格（Sianne Ngai）指出，考虑到可爱（cuteness）的特点有"小巧精美，整齐简洁，柔软或有弹性"，因此我们与可爱的关系并非直截了当，书中说道"我们对看似微小无害的物品展现出异常丰富的情感，从温情脉脉到深恶痛绝"。甚至可以认为毛绒玩具是可爱的最完美形式。自然而然，毛绒玩具被作为商品销售，被人们消费又同时被人喜爱珍惜。它们纹丝不动地用眼神祈求着我们的呵护，它们满载着我们情感的寄托，但至今仍无人疼爱地坐在商品货架上。并非对庸俗的赞美，这一组对纪念品的收藏仍然存在着制造人的痕迹，在大规模生产中并未湮没手工制作的品质。归根结底，坎普森把纪念品转变成收藏品，如此一来，在反抗高深莫测难以接近的地缘政治秩序下，他在已有内定规则的权力的循环内给人们提供了亲近和交融的可能性。而这样的鬼斧神工的绘制，正是此作品的精髓之处。<br /> <br />斯科特·伊斯特博士<br />新南威尔士大学艺术与设计学院艺术史系导师</h1> <h1><b>Michael Kempson’s Child’s Play: A Master of Exactitude</b><br /> <br />In 2011 Michael Kempson undertook an artist’s residency program at Sydney’s popular tourist attraction Taronga Zoo. The residency program by that stage was in its third year, and attracted luminaries such as John Olsen, Elisabeth Cummings, and Euan Macleod to the harbour-side sanctuary to support the Zoo’s ongoing conservation work, collectively raising over $300,000. Despite the proximity the residency provided to the wild and exotic, Kempson was not taken with living creatures, rather it was the far more prosaic souvenirs of stuffed wallabies, frogs and pandas in the gift shop that sparked his attention,<br />for example, Flora and Fauna, Past and Present & Slow and Fast all feature toys (all 2011). Initially, these subjects were combined with other elements such as in Flora and Fauna, a menagerie of stuffed animals, including a koala, a frog, and giraffe are arranged in a neat three-by-three grid alongside four banksia specimens arranged in a single column. The playfulness of the toys conjures the domestic whereas the Banksia pods appear laid out as if on the botanist’s table.</h1> <h1>While designed objects, Coke bottles and beer cans, had been a regular motif against the equally ubiquitous native banksias, stones and shells, the plush toys are of a different order. Firstly, the previous synthetic appearances were primarily waste, detritus discarded by consumption or careless intoxication, whereas the toys are always pristine, never taken off the shelf, not battle worn as lives lived must be. Secondly, the waste products were of consumption items, whereas the toys are already representations of nature, making Kempson’s prints representations of representations. This second-order hall-of-mirrors game emulates the seriality of printmaking, where the image is worked up on a plate to then almost like magic be transferred to the final surface. This is not at all surprising from such a masterful and dedicated printmaker, who has spent decades reflecting on and perfecting his craft. Since then, Kempson has undertaken a major cycle of work inspired by this experience which features soft children’s toys as its subject matter, and Child’s Play is the latest and most majestic contribution</h1> <h1>Kempson recounts that it was the birth of his first Grandchild, Jason Keni Junior (JJ), around this time that may have directed his vision. In this reading the works in the cycle can be read alongside William Yeats’ famous poem A Prayer for My Daughter, 1919, yet unlike the overbearing father whose own insecurities wish to constrain his progeny to a "vegetable: immobile, unthinking, and placid" nineteenth-century feminine-ideal, whose greatest mission in life is to find a rich husband, this visual meditation is far-more oblique and open-ended. Yet, similar anxieties as to the fate the next generation will face prevail in both. Having seen their own children grow-up, leave home and have their own families, grand-parents have the distance to know there will be fights but they will be resolved, there will be difficulties but they will be overcome; rather than twee platitudes, their experience reminds them of what to hold dear, like the moments of small delights such as a child beholden with their teddy. These moments are the fabric of life which hold together the less frequent events, like a day’s trip to the zoo. </h1> <h1>It is useful to note that alongside the development of this motif in Kempson’s work, his method has increasingly relied on cultural exchange with colleagues and printmakers, especially domestically and in the Asia-Pacific, exemplified in the work of Cicada Press. For many artists, the demands required to build such a space of knowledge and cultural exchange would take its toll, but spending time in Cicada Press it is clear that the dedication and commitment to another’s practice only drives and produces more work.<br /> <br />In viewing Kempson’s work I am reminded of the poet Susan Stewart’s meditations on the souvenir and collection in her cult classic On Longing (1984). Here, Stewart outlines a distinction of two sorts of souvenirs, those that can be readily purchased as a substitute of a particular experience (a model Eiffel Tower for example – in the case of Kempson’s work we must leave aside the question of whether a toy koala can ever replace a live one) or those which commemorate life’s events (births, deaths and marriages), noting that perhaps it is because of a lack of progress along life’s course that makes children so enamored with the first sort. Read as a souvenir, these works can be understood as a desire for a fullness of experience for the grandchild, that they may too experience all that the world can offer. Against the substitution of the souvenir Stewart outlines the collection’s inherent aestheticisation, the collection is always chosen and therefore is tied to ideas of taste, whereas taste does not figure for either sort of souvenir. It is the artfulness of the collection which makes it "a form of art as play, a form involving the reframing of objects within a world of attention and manipulation of context" (1993: 151). Written well-before our current world of Trump, the dismantling of the EU and the large-scale spread of fake news and populist coercion, these words stand as a stark warning. As a collection, Child’s Play updates this warning in a visual form.<br /> <br />The flat alignment of Child’s Play is made even more evident by comparison to the works which emerged directly from the residency, including Past and Present 2011 in which a solitary koala looks out diagonally from the picture plane while on the left-hand-side stones are arranged in neat lines as if the bars of a prison cell. In the latest work the nations of the world are laid flat as souvenirs. Currently the series stands at thirty-eight crisp prints, with plans to extend it to fifty, but it is easy to imagine, the 51st or the 146th (a Maltese Pharaoh hound) in the series, until all 246 ISO country codes are accounted for. The absences remind us of the uneven development erased in most discourses of globalisation. Likewise, we can imagine the individual figurines joining their neighbours in blocks of power or those placed opposite in grips of confrontation or war. This is made explicit in earlier works such as Body Politic 2012, Presents with Presence 2013 and East and West, 2014. In this vein the deliberate placement becomes highly symbolically charged.<br /> </h1> <h1>Stewart reminds us that the collection works via metaphor while the souvenir relies on metonym. Metaphorically, these figures map our contemporary geopolitical conjunction. It is worth remembering as Stewart does that perhaps the archetypal collection is Noah’s Ark. This fable of redemption is concerned with ensuring the replication of a pre-existing world post-flood. Kempson’s ark has no potential for reproduction of the same, two from each species are not saved. In this series, the uniqueness of each toy is what grants the characterhood. In this way, these inanimate objects gain agency in some unfolding drama that we can’t quite access but which leaves its mark in those thus assembled. Despite their differences, the consistent shadows of the subjects behind their left-sides, reveal they are all lit dramatically from their top right, the shadows they cast are their only context, otherwise they are completely extracted from any surroundings, here, the future must be faced without recourse to any of the old supports whether customary, technological or natural. The future must be faced together in all of our multiple differences. The refusal to place these figures within their environment, whether national, or to create some quaint diorama nor even the commercial shelves that would sell the animals as plush toys produces a sense of groundlessness which is possibly the most menacing aspect of this work.<br /> <br />In the larger cycle of works, Kempson has played around with backgrounds, for example, in PRK – KOR (2017) a Siberian Tiger and the mythic Cholima are united against a wood-grain background (the Koreas re-united in the nursery). Unsurprisingly, such conceptual trickery is of less interest to Kempson than the technical addition to his repertoire of using a laser cutter and off-set press in order to render this verisimilitude of the wood-grain. Such directness obscures the conceptual sophistication of the work, but also reminds us of the incredible accessibility of the work. The simple raw delight of these cute objects never fails to win an audience. The combination of the official national symbols with the vernacular is further evidence of this, for example, the gushingly cute koala appears instead of the kangaroo or emu, and rather than the regal lion representing Britishness the bulldog replaces it at this table. Likewise, each species is referred to not with its scientific name – this is a popular assembly. There is no denying the fun, playful tone these figures have added to Kempson’s work.<br /> <br />However, as the cultural critic Sianne Ngai suggests our relations with cuteness is far from straightforward "disclosing the surprisingly wide spectrum of feelings, ranging from tenderness to aggression, that we harbor toward ostensively subordinate and unthreatening commodities." Considering the traits associated with cuteness "smallness, compactness, formal simplicity, softness or pliancy" (64) we might even consider stuffed-toys as cuteness’ perfect form. Soft toys are nature turned into commodity, to be consumed but ultimately valued by somebody. Inert, motionless, their eyes-wide begging for our protection. They are charged symbols of our affections, but presently they remain sitting unloved on the shelf. This is far from a celebration of tacky kitsch, this collection of souvenirs remains marked by their producer, the hand-made is not erased in mass-manufacture. Ultimately, Kempson turns the souvenir into the collection, and in doing so, against a geo-political order of anonymity and inaccessibility he holds out the possibility for intimacy and exchange within the grid of already existing circuits of power. It is this precise mapping that is the genius in the work.<br /> <br /><b>Dr. Scott East<br />Lecturer in Art Theory<br />University of New South Wales Art & Design, Sydney</b><br /> <br /> <br /> </h1> <h1><br /><b>迈克尔·坎普森 </b><br /> <br />1961生于南澳大利亚州卡潘达<br /> <br />学术职位<br /> <br />2016-至今中国北京国际版画联盟顾问委员会委员<br />2016中国天津美术学院客座教授<br />2014-2016美国南方图形国际委员会国际委员<br />2012中国西安美术学院客座教授<br />2004-至今澳大利亚新南威尔士大学艺术与设计学院版画系主任、高级讲师<br />蝉印版画工作室（Cicada Press）主任<br />1999澳大利亚悉尼大学艺术学院讲师<br />1986-2003澳大利亚新南威尔士州职业技术教育学院悉尼北校版画艺术系主任<br /> <br />个展精选<br /> <br />2017"迈克尔·坎普森：工作与玩耍"，北京颂雅风艺术中心<br />2016"迈克尔·坎普森— 游戏时间"，悉尼弗林德斯街画廊<br />2013"出类拔萃", 新西兰惠灵顿鲍恩画廊<br />2012"这与那：近期铜版作品"，悉尼弗林德斯街画廊<br />2010"最新铜版作品"，悉尼弗林德斯街画廊<br />"知／未知：迈克尔·坎普森版画回顾展"，巴基斯坦卡拉奇VM艺术画廊<br />2007"最新作品", 堪培拉纸上印象画廊<br />2006"美丽与平庸"，悉尼迈克纳吉艺术画廊<br />2003, 00, 97, 94悉尼迈克纳吉艺术画廊<br />2001, 00, 99"小小敬意"，与马修·汤姆合作作品，悉尼锡屋艺术画廊；<br />新南威尔士州奥兰芝地区美术馆<br />1999"轮回", 塔斯马尼亚州伯尼地区美术馆<br />1990悉尼DC艺术画廊<br />1987, 85, 83悉尼雷克斯欧文商业画廊<br /><br />群展精选<br />（2008年至今）<br /> <br />2017"蝉印版画工作室作品展"，约翰伍兹印刷媒体画廊，美国阿尔弗雷德艺术设计学院NYSCC电子艺界研究所驻留项目<br /> <br />2016 "国际版画联盟邀请展"，北京劳动人民文化宫太庙艺术馆，澳大利亚展区由迈克尔·坎普森策划。由中央美术学院主办，巡回展览于：南京金陵美术馆；天津金陵美术馆；石家庄美术馆；深圳观澜版画基地美术馆<br />"澳大利亚悉尼蝉印版画工作室出版物"，美国华盛顿西雅图戴维森艺术画廊<br />"描线", 由瑞尔卡·奥克利为澳大利亚版画协会策划，新南威尔士州卡通巴蓝山文化中心<br />"蝉印版画工作室作品荟萃", 新南威尔士州阿伯茨利格雷丝·可斯通·史密斯艺术画廊<br />"山与谷：蝉印版画工作室作品"，新南威尔士州卡通巴蓝山文化中心<br />"澳洲印造" ，悉尼齐本德尔81号艺术画廊<br />"通途：南半球版画展" ，韩国镇川版画博物馆<br />"十年版画：2006-2016艺术收藏" ，新南威尔士州格里菲斯地区美术馆<br /><br />2015"座位与背包：4位穿过塔斯曼海的澳洲版画艺术家"，新西兰惠灵顿鲍恩画廊<br />"有始无终"，首届国际美术院校版画专业主任论坛，澳大利亚展区由迈克尔·坎普森策划，中央美术学院；南京艺术学院；湖北美术学院 <br />"不为人知的生活：艺术家作为收藏者"，悉尼天文台山国家信托中心SH欧文艺术画廊<br />"2015依拉姆国际版画研讨会"，新西兰奥克兰格斯费希尔画廊<br />"近邻"，由保莉特·鲁滨孙，罗娜·格林和 Aratoi Wairarpa，新西兰马斯特顿艺术与历史博物馆<br />"蝉印版画工作室作品展"，2015悉尼当代展，悉尼马车创意空间艺术馆<br />"精华汇聚-2015宜兰亚太国际版画邀请展"，台湾宜兰美术馆<br /> <br />2014"首尔-悉尼：当代韩国和澳大利亚版画"，悉尼新南威尔士大学艺术学院UNSW画廊<br />"交汇：澳大利亚与泰国版画对话"，曼谷泰国艺术大学PSG艺术画廊<br />国立大学艺术馆，堪培拉澳大利亚国立大学<br />悉尼莫斯曼美术馆<br />"蝉印版画工作室作品展"，悉尼当代展，悉尼马车创意空间<br />"京都版画2014: 澳大利亚和日本"，日本京都市美术馆<br />"表面秩序: 荣妮·艾哈迈德, 迈克尔·坎普森，本·拉克，阿卜杜勒·赛义德和阿迪勒·拉法尔"，巴基斯坦卡拉奇噪鹃画廊和美国纽约艾康画廊<br />"悉尼-拉合尔：蝉印版画工作室和赛义德·赫塔尔工作室作品"，巴基斯坦拉合尔赛义德·赫塔尔画廊 <br />"汇聚的版画印象：澳大利亚，加拿大，中国，日本，新西兰，韩国，台湾和美国"，由彼特·麦克沃特为韩国现代版画家协会策划，韩国镇川版画博物馆<br />"成长的智慧2008-2014观澜版画"，庆祝观澜版画基地建立6周年展，深圳东方美术馆<br />"澳大利亚版画协会2014特约作品"，南澳阿德莱德弗林德斯大学城市画廊；昆士兰布里斯班QUT艺术博物馆；堪培拉版画Megalo工作室画廊；西澳弗里曼尔特艺术中心； 塔斯马尼亚霍巴特手印画廊；墨尔本杰克逊海港版画工作室<br />"第一届国际版画双年展"，巴基斯坦卡拉奇VM艺术画廊<br />"苍茫·无垠"巡回展，台湾高雄正修科技大学艺术中心<br />"艺术家音乐手工书"，由布伦丹·欧布莱恩，诺埃尔·麦克纳，彭尼·莫伊尔和珍妮·内里根策划，新西兰惠灵顿鲍恩画廊<br />"台湾2014国际版画双年展ROC"，台湾美术馆<br /> <br />2013"识/不识"，由罗娜·格林为澳大利亚版画协会策划，维多利亚州天鹅山地区美术馆<br />"印迹2013：国际版画艺术家"，武汉美莲社艺术空间<br />"25x25：当代日本和澳大利亚版画"，悉尼日本文化中心美术馆<br /> <br />2012"临界·跨界：国际版画展"，嘉南艺术文化中心，嘉南药理大学<br />"以版画为起点：第十一届全国高等院校版画年会作品展"，广州美术学院<br />"九英荟萃"，泰国曼谷国家美术馆<br />"聚变——国际当代凹版作品邀请展"，深圳东方美术馆，观澜版画原创产业基地<br /><br />2011"个性空间：中澳版画撷英"，悉尼曼利美术博物馆<br />"南方蝉鸣：澳洲新南威尔士大学美术学院当代版画展"，台湾艺术大学美术学院国际展厅<br />"蝉印版画工作室：合作与联结"，悉尼威乐比燃炉艺术空间<br /> <br /> <br />2010"澳洲和新西兰艺术"，美国范德堡大学布朗森·英格拉姆艺术中心<br />"2010春季版画合集"，巴基斯坦卡拉奇印度河艺术与建筑大学<br />"第二届国际版画工作室作品展"，西安美术学院西部美术馆<br /> <br />2009"漫游索兰德项目"，伦敦版画工作室<br />法国萨尔塞勒国际版画双年展<br />"黑与白"，悉尼28号画廊<br />"层层幻影：查尔斯·阿诺特，迈克尔·坎普森和保罗·史密斯"，悉尼曼利美术博物馆<br /> <br />2008"帛与沙：中澳版画撷英"，新南威尔士大学伊万多尔蒂美术馆和中央美术学院美术馆<br />"九英荟萃"，泰国曼谷国家美术馆<br /> <br /> <br />代理画廊精选<br /> <br /> </h1><h1>堪培拉澳大利亚国立美术馆；悉尼新南威尔士州美术馆；阿德莱德南澳大利亚美术馆，布里斯班昆士兰美术馆；泰国曼谷当代艺术馆；台湾美术馆；埃及国家艺术中心；堪培拉旧国会大厦收藏；泰国清迈当代艺术博物馆；新南威尔士州巴瑟斯特地区美术馆；塔斯马尼亚伯尼地区美术馆；新南威尔士州断山城市美术馆；新南威尔士州坎贝尔敦城市美术馆；堪培拉地区美术馆；悉尼卡苏拉艺术中心；维多利亚州汉密顿地区美术馆；新南威尔士州达博地区美术馆；维多利亚州拉筹伯地区美术馆；新南威尔士州特威德河地区美术馆；维多利亚州吉朗美术馆；昆士兰州格拉德斯通地区美术馆；新南威尔士州格拉夫顿地区美术馆；昆士兰州阳光海岸城市美术馆；新南威尔士州曼利美术博物馆；新南威尔士州奥兰芝地区美术馆；新南威尔士彭里斯地区卢尔斯遗产美术馆；昆士兰州罗克汉普顿美术馆；新南威尔士州沃加沃加城市美术馆；维多利亚州瓦南布尔美术馆；新南威尔士州立图书馆；昆士兰州立图书馆；詹姆斯·哈迪收藏机构；维多利亚州立图书馆；新南威尔士麦考瑞大学</h1> <h1><b>工作中的Michael Kempson</b></h1>