INTERNATIONAL REVIEW OF CONTEMPORARY PRINTS, BOOK AND PAPER | 24 YEARBOOK | 2020

Juan Carlos Romero Will there be time for me to make a mask in case I emerge from the shadows? 2000, digital print, 74 × 60 cm (Photo courtesy of the Romero heirs)

CONTENTS (4) Argentine printmaking Dear readers, (Alicia Candiani) Although the new issue of Grapheion has been created during the coronavirus epidemic, you will not find in it any reflection on the effects of this disease, or rather (19) the consequences of the interventions against its spread on the activities of galleries, Antonio Berni museums or art schools. We leave this sad balancing to someone else, as we do the and Alfredo Benavídez Bedoya speculations that no transmission of the disease would quite likely occur in the vast (Pavel Štěpánek) spaces of institutions.

(22) I would like to introduce the new issue with encouraging news that the existing team Confluent Momentum. of Grapheion's workers has been joined by other colleagues. Alicia Candiani, a print Interviews with artists represented artist and the director of the Proyecto´Ace studio in , , has at the LIGHT / MATTER exhibition responded to the call for cooperation with an article on the history and present of about their current work Argentine printmaking, its roots and changing role in times of dictatorship and (Tracy Templeton) regained freedom. And about the search for its specific position on the contemporary world art scene. (30) But it tastes good as a whole. Our leading Hispanist Pavel Štěpánek, an expert in Spanish and South American art An Interview with Martin Velíšek and culture, has also accepted the invitation to cooperate with us. In his article, he (Barbora Kundračíková) focuses on the work of other Argentine artists such as Antonio Berni and Alfredo Bonavídez Bedoya. (38) Introitus Walter Jule's article on the Light / Matter exhibition from the last issue is now The introduction of three authors followed up by a contribution by Tracy Templeton from the USA, from whom we learn who in their work deal with the theme behind-the-scenes information and how this exhibition influenced the current work of of the landscape – Lenka Falušiová, those who participated in it. Eva Vápenková, Alena Vršanská (Barbora Kundračíková) Among the Czech contributions, I would like to mention the interview of Barbora Kundračíková with print artist and painter Martin Velíšek, and also the introduction (41) of three authors who in their work deal with the theme of the landscape (Lenka Every day – one new print Falušiová, Eva Vápenková, and Alena Vršanská). Other artists that this year's Interview with Miloš Michálek Grapheion presents include Miloš Michálek and Šimon Brejcha. Miloš Michálek (and (Ondřej Michálek) I must add we are not related) will present his project, in which he sets out to create and print one small work every day of the year. Šimon Brejcha is represented by two (44) exhibitions, which he organised last year in Prague, and an interview offering Purity, Minimalism, Detail a glimpse into the technological procedures, in which he will tell us how his graphic An Review of Šimon Brejcha's exhibitions works are actually created. Lenka Kahuda Klokočková comments on the exhibition (Lenka Kahuda Klokočková) in the Špála Gallery.

(46) The evaluation of Eva Čapková's monograph devoted to the work of Oldřich Habera, Drawing by print the successor to Vladimír Boudník's legacy, was offered to this year's Grapheion by An Interview with Šimon Brejcha another new collaborator, Jiří Bernard Krtička. (Ondřej Michálek) Even this time, the issue presents a chronicle listing the exhibitions and events (49) organised last year (prepared by Olga Frídlová), and unfortunately also this time, the I Like the Smell of Stones new issue of Grapheion includes an obituary – Ivo Křen, whose coloured linocuts will A Review of the Monograph be remembered in the memory of Alena Laufrová. on Oldřich Hamera by Eva Čapková (Jiří Bernard Krtička) I believe that even though the galleries and museums have been closed for a long time now, our studios have remained open. I believe that we continue to create, and (51) that we are still interested in art. One would almost say, it is the only thing we are Remembering Ivo Křen and his Work left to do. (Alena Laufrová) Ondřej Michálek (53) Chronicle / Overwiev of exhibitions, competitions, conferences and graphic fairs (Olga Frídlová) →) 4 5

we latently experience as Latin Ameri- cans, such as intricacies in art media or similarities that compose much of the multiplicities, hybrids and con- PRINTMAKING IN trasts determining it‘s unique history. Today, Latin American printmaking is engaged in the same ethical and ARGENTINA aesthetic questions posed by others in our new, complex globalized world. ALICIA CANDIANI However, the proximity and deafening presence of socio-political problems in South America serve as a persistent Alicia Candiani (b.1953) entered the Argentine and backdrop to any cultural creation. Today, the appearance of multiplicity in international art scene in the nineties. From the outset, identity, which bears no relation to her focus was on expressing the contradiction of human folklore or ethnocentricity, is constructed from many views of the same region. body/soul as a tabula rasa, including surrounding social For those who might require some constructs. These included Catholicism, identity, marked characteristic to understand history, politics and references to resultant associated prints we can say that Argentine artists have “digested” all types of media, trans- violence. With her work, she comments on a wide range formation and combination of it, opening of questions presently concerning new roads to the development of a regional graphic style that has culture: Spanish conquest, religious norms and bloody become defined by its multi-cultural, traces left in societal wake by military dictatorships. multi-media and multi-technical The broad scope of her inspiration also includes aspects. Works produced from these means provoke a strong impact sparked organizational work characterized by an effort to by the energy, intelligence and freedom ↖) Guillermo Facio Hebequer, convene international artists and enable critical, of artists whose printed practices Calle Corientes, 1925, lithography, 66 × 47 cm make it possible to examine problems, cross-cultural discussion. ↑) Abraham Vigo, virtues and challenges of our history Agitator, 1933, and territory, in a rich and unique way. etching, aquatint, 33 × 28 cm

Addressing important philosophies and loci to take risks, and work with new ←) Adolfo Bellocq, ideas fortified through forty years of inspiration, becoming a center for ex- II. ARGENTUM Bad Thirst, 1929, experience in graphic arts as a print panded graphic practices in Argentina, etching, drypoint, 49 × 36 cm artist; educator; curator; organizer; Latin America and around the world. Argentina is a triangle of land in the ↓) Juan Yaparí, participant in international projects extreme south of The Americas. Pam- Eternal Punishment, illustration in the book The Difference and guest artist at various institutions I. INTRODUCTION pas, Matacos, Tehuelches and other Between Temporal and Eternal, 1705, abroad, Alicia Candiani established her tribes settled the Pampas, the moun- engraving, unknown dimensions own creative platform in Buenos Aires. Just as footsteps leave an imprint on tains and the Patagonia. Mostly noma- Proyecto´ace was born in 2005 based moist sand, printmaking leaves an dic, the Spanish conquest did not give on her experiences in expanded gra- impression of context. Metaphorically them time to develop the artistic refine- phics that became a prime characteris- and literally speaking it produces ment and socio-political organization tic of the residency’s studio atmosphe- a mark that modifies and reformulates which we see in Aztec () and re. The program focuses on expanded our vision of the world. Inca () cultures. art practices, with a special interest in Seen from the view of developed Spaniards appeared for first time contemporary initiatives that involve nations, Latin America is a broad title in Rio de la Plata in 1516, twenty-four traditional, innovative printmaking covering territory from the Rio Grande years after Columbus discovered the practice and it‘s hybridization with and beyond, corresponding to a conglo- Americas. The Spanish, who colonized photography, design and new-media, merate of people in a mainly Spanish- the region, were looking for a route exploring their interconnected influence -speaking grouping of European, indi- that would connect the Atlantic and and capacity to engage the multiple. genous, and African cultures (or ethnic Pacific oceans. Also, looking for gold Áce‘s intent is to nurture creativity as groups), which have a colonial past and and silver, the origin of the name a one-of-a-kind experience in South commonality in Catholic practice. From Argentina predates 1554, when it America, successfully bringing toge- this broad perspective, Latin America appears in the maps of the Portuguese ther artists from around the world to printmaking also has a broad cultural Lopo Homem as Terra argetea or bridge the gap between old and new identity. Often mis-interpreted as indi- argéntea, from the latin argentum, technologies from various artistic genous to its‘ history, naïveté or fantas- meaning silver. By this time, it‘s discove- genres. Since its founding, Proyecto´Ace tic , are recognized as the Latin ry had spread a legend about rich silver offers artists a residency experience American tendencies. This perspective mines on the mainland. Spanish and not adhering to the usual classification has unfortunately excluded other Portuguese conquerors believed that of graphic techniques or visual media, interesting approaches capable of they could be accessed through a wide letting artists be influenced by genius expressing the unpredictable reality river (the current Rio de la Plata) loca- 6 7

ted in the south. Their frustrated effort to find the riches was what gave the name Rio de la Plata (River of Silver) and also named the country – Argenti- na – from the latin word Argentums meaning silver. Since the outset of its discovery, the region and its inhabi- tants were intimately linked to the colonial history of South America that erased other cultures and knowledge that were supplanted and forgotten by the European hegemonic, colonial he- ritage. The start of printmaking in this ter- ritory was also related with the coloni- zation and forced imposition of Catholic faith on the native people. In the seven- teenth and eighteenth centuries, when Hispanic colonies were ruled by the Spanish Crown and Catholicism, the Jesuit missionaries established reduc- tions, also called missions. They were settlements founded on lands originally occupied by Guarani indigenous communities in territory that straddles three national bounda- ries – Argentina, Brazil and Paraguay. These carefully planned and administe- red communities, where the Guaranis were restrained, were unique in colonial evangelical tradition for a number of reasons. They were self-sufficient, preserved the Guarani language, trained indigenous in agriculture – but protected from slavery – and were effi- ciently laid out according to an esta- blished design. In these missions, the Guarani were introduced to Christianity and European artistic concepts of architecture, paint- ing, sculpture, applied arts, and music. Arts that flourished under the Jesuits had a distinct character, a synthesis between European and indigenous, ↑) Aida Carvallo, which gave rise to the so-called Dream of a Doll, 1975, Baroque-Guaraní style combining the Spanish Jesuit Juan Eusebio Nierenberg, Three centuries later, in 1928, Brazilian woodcut, unknown dimensions European Baroque of the seventeenth were published in Santa María la Mayor poet Oswald de Andrade (1890–1954), ↗) Edgardo Antonio Vigo, century that was inspired by artists Mission in 1705. It is widely considered introduced the Anthropophagy, or the Magazine Cover of Diagonal Cero, 1968, 1 woodcut such Italian Jesuit, José Brasanelli the most perfect book published in the philosophy of „cultural cannibalism” . (1659–1728), with indigenous influence. New World, with forty-three engravings, It was inspired by Abaporu, a →) Alda Armagni, Shepherd, 1985, At this time the Jesuits began using sixty-seven vignettes and chapter ini- by Tarsila do Amaral, a modernist artist woodcut, 49 × 35 cm printing presses at the Guarani missions tials produced with copper plates. The and his wife. The manifest started a mo- and printmaking was used for the print- Indian Juan Yaparí, a Guarani living in dern movement proposing to „devour“ ing of books and religious materials, the mission, created a signature copper- European culture by combining it with copying images and texts of European plate, as one of the first identified the autochthonous culture, transfor- origin. Almost all the engravings in- printmakers in the region. Yaparí´s plates ming it into something completely Bra- serted in the book The Difference Be- and other engravings by the natives, zilian. tween Temporal and Eternal, by the included elements of personal ethos Anthropophagic Modern movement

into the plates, relating the illustrations was a Brazilian movement. However, closely to local Guaraní culture found in Argentine modernism did not „devour” ↗) Antonio Seguí, People on the Street II, 1991, the jungle missions – even depicting European art but „digested” it for seve- linocut, 73,7 × 48,3 cm a jaguar - and reflecting in their own ral historic reasons. Between the end visual expression aspects of the Guaraní of the nineteenth century and approxi- worldview in the copy’s texts. mately 1950, Latin America art became

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↖) Luis Seoane, Now They Rest in the Dust, 1958, woodcut, collagraph, 60,2 × 39,8 cm

↑) Alicia Diáz, Scheme and Sign XIII., etching and relief, 80 × 60 cm

↑) Pablo Obelar, Untitled, 1973, ←) Rodolfo Agüero, serigraphy, 50,9 × 35,4 cm Counter-position, 2001, digital print, 60 × 60 cm ↗) Antonio Seguí, Portrait of a Man, 2002, carborundum aquatint, 66 × 57,2 cm

→) Delia Cougat, Flight, 1975, etching, aquatint, 60 × 38 cm 10

known for assimilation, confrontation, policy together with the aim to bring art began to slowly emancipate itself in resistance – beginnings and endings to a radical institutional organization and the hands of painters, who also made the central modern paradigm. Mexican socio-economic transformation. prints. muralism, indigenism, stridentism, A renewed Argentina was born, different Around the centennial an opportu- modern art, anthropophagy, , from the “criolla” as a consequence nity arose to rethink this new Argentina, political art, abstraction, Argentine of the changes implemented by the one that came through the political Florida Boedo groups, singular artists „Generation of the 80’s“. The ideology and economic projects implemented by like Argentine , and so on, of this generation and the power they the „Generation of the 80s”. Even were garnering dynamic responses by had to implement it altered cultural though the time frame from 1912 to their affiliations and dissident to modern roots and ethnic diversity. The extermi- 1930 are generally regarded as Argenti- diaspora. The peripheral positions nation of aborigines and the intentional na‘s „Golden Age“ – when the country assumed by groups of Latin American amnesia of the Spanish colonial past was among the world's most developed artists and writers associated with gave place to a dichotomic opposition – there were many gaps. Poor working modernity involved varying degrees of between „civilization” (as in European conditions, restrictive labor legislation, translation. In this process a betrayal culture and lifestyle) and „barbarism” dilapidated housing and disenfranchised of their intention by consequence of (as colonial and indigenous past). immigrants who made up half of the the mediation processes – deferred Opening of immigration furthered capital city's population as newcomers, appropriation, re-appropriation – was ethnological change. Immigrants came became urban proletarians. They brought not so unlike the mission´s first prints, from many places, mainly Europe, for with them the socialist and anarchist →) Hilda Paz, being more than peripheral copies, – whom the government gave housing to ideas that began social movements and She Writes, 2007, they generated highly complex, critical live in the country. British builders protests. digital print, 25 × 25 cm

advancement. came to direct the railway system. In contexts full of contradictions, ↓) Matilde Marín, French were hired as architects, like the beginning of printmaking artistic The Promised Land, 1998, III. EARLY HISTORY the Baron of Haussman, they rede- expression in Argentina was led by the comb. tech., 57 × 76 cm signed Buenos Aires´ city and built so-called Los Artistas del Pueblo (The During the nineteenth century the inde- palaces with mansards transforming People's Artists, 1915–1930), a group of pendence of the United States and ideas the city into “The of Latin Ameri- artists integrated by José Arato found in 18th century French philosophy ca”. Most of the developers returned to (1893–1929), Adolfo Bellocq (1899–1972), combined to help the Spanish colonies Europe, but impoverished Spanish and Guillermo Facio Hebequer (1889––1935), to overthrow their rule, giving birth to Italian immigrants saw Argentina as Agustín Riganelli (1890–1949) and Ab- the 1810 May and United a place for new hope. „Fare l´America raham Vigo (1893–1957). During the Provinces of Río de la Plata (the country e doppo tornare…, go to make it in decades of the nineteen-twenties and was not yet called Argentina) but the America and then go back home” was thirties they were part of „Group of country's struggle for independence their original intention, but most never Boedo”. Close to Editorial Claridad one continued for another eight years. went back. The new Argentina had of the important artistic groups in the Buenos Aires becomes the capital and a population consisting of 98 % European Buenos Aires art scene in the twenties, ethnic and demographic structure was Caucasian with a culture modeled by they had a strong political conviction „criolla”, a mix between indigenous and the French and an economy dependent linked to leftist thinking, especially Spanish, with a socio-political organiza- on Britain. In just 50 years this process anarchist associating their aesthetic tion following old Spanish governance. brought the country a historical program with politics. The artists At this time, printmaking was poised character distinct to its own past and shunned the formal circuit of galleries, to illustrate political change and every- history. preferring to show their solidarity with day life in the newborn country. Graphic the workers through displays of protest production was changing significantly IV. PRINTMAKING AS PART OF ARTISTIC art in union halls, community centers, with the introduction of lithography, PRACTICES IN TWENTIETH CENTURY and Socialist party libraries. and visits by „traveling artists”. They The artists‘ rejection of modern art came from Europe, influenced by old- In the beginning of the twentieth century was based in their conviction that art -world romanticism and looking to do- Buenos Aires was a rich and populous was to speak directly to the masses, cument exotic places, including Rio de place in the world. A breath of modernity both emotionally as well as politically2. la Plata where they found beautiful could be felt in the streets of the capital Their prints were intended to stir landscapes and detailed the artistic city embodied by fashion, architectural sympathy for the less fortunate and to expressions and customs of its inhabi- design and European charm. In 1910 the motivate workers to action. It is not tants. Thanks to their art we can see country celebrated its independence surprising that their prints were inspired what life in Buenos Aires looked like at centennial. Coinciding with this anniver- by two German expressionists, Kathe distribution and consumption, were with the coup d'état against President cities, resulting in the creation of the the beginning of the nineteenth century. sary, an International Exhibition was Kollwitz and Ernst Barlach, who engra- used to make workers aware of the Hipólito Yrigoyen by José Félix Uriburu first villas miseria (shanty towns). However, at the end of this century held and in addition to , sculp- ved from the end of 19th Century to forms of exploitation and social injustice, amongst the background of the Great Deprived of political experience, in lithography was relegated as a supple- tures and architectural projects, people post WWI. Both directed their prints to promoting uprising and revolution. Depression. This decade was marked contrast with the European immigrants ment to newspaper printing with an could look at European prints. A year the working class. The techniques – Finally, the importance of the „The Peo- by significant rural exodus. The poor who brought with them socialist and emphasis on the social and political later, the 1st National Exhibition was etching, woodcut and some lithography ple's Artists” lies in that they were the economic results of government policy anarchist ideas, these new city- aspects of life. Printmaking was not inaugurated, opening its doors uninter- – were selected since the multiplication first artists to produce fine art prints in and popular discontent led to another -dwellers would provide a social base seen as an artistic form of discourse. ruptedly since then, including its section of the images through these processes Argentina as well as the first movement coup in 1943, the „Revolution of '43". for Peronism in the next decade. The last decades of the 19th century for engraving. Around the same date the facilitated low-cost access to the public of in . The impact of the economic crisis forced Around 1930, one of the People´s brought profound changes in the coun- Academy of Fine Arts was created, and gave the possibility of an increased The next decade (1930–1942, called many farmers and rural workers to Artists, Guillermo Facio Hebequer try, a consequence of immigration where printmaking as an autonomous circulation. These print processes, by the „Infamous decade”) started in 1930 relocate to the outskirts of the larger (1889–1935) critiqued Buenos Aires´ 12 13

faux modernity in a large color litho- medium.4 In addition, the historical con- at the 31st in 1962, ←) Andrea Moccio, graph. „Calle Corrientes”3 (Corrientes text of the sixties and seventies was considered as a milestone of contem- Lilies from All my mother's gardens Series, 2018, Street) represents Buenos Aires as characterized by professionalizing gra- porary art in Argentina. tonergraphy, 80 × 135 cm a prostitute who holds between her phics as artistic discipline and securing legs false modernity illustrated by cars, its position within art market and A daughter of a printmaker, Liliana Por- shining billboards into many different collectors. At this point printmaking ter was born and educated in Fine Arts scenes, portraying new means of repre- acted to spread resistance to the dicta- in Argentina, where she studied with sentation together with anguish about torship. It also spurred conceptualism Fernando López Anaya and Ana María a confusing future. and experimentation or reflection on Moncalvo. After a stay and study in Me- the media itself, questioned the tech- xico in the nineteen-fifties, the artist V. A PRINTMAKING nique and the representation systems. settled in , USA. In the REBORN IN THE 1960s heart of great experi- AND 70s mental, philosophi- cal, and artistic effer- In Argentina the aura of vescence during that the sixties arrived late, decade, the artist with mere glimpses of founded the New counterculture and subse- York Graphic quent protest in the second Workshop (NYGW) half of the decade. During together with Luis those years, Argentina Camnitzer (Uruguay, was ruled by successive 1937) and José Guil- and weak military regimes lermo Castillo (Vene- interrupted by duly elected zuela, 1938–1999). weak civilian govern- Although all three ments. Inevitably they artists used tradition- were deposed by progres- al printmaking tech- sively more repressive niques, they sought military regimes, the last conceptual approa- of them (1976–1983) was ches in their work. the cruelest among the Through photogra- previous ones, carrying vure technique, Porter out thousands of execu- became a pioneer of a tions, kidnappings of radical conceptual babies, and other atroci- approach. Using ties. Those who participa- printmaking associa- ted in cultural and political ted with photography change were silenced and as a means to pose the forced underground or into problem of represen- exile by the mid-seven- tation, the artist indi- ties. Print media – as it cates representation was historically – was an as the figuration of important part of the resi- mediated objects. In stance. her photoetching se- Simultaneously there ries from this period, were a group of artists it is interesting to see that travelled to attend a semiotic reflection workshops abroad that in her work - a photo- had a very direct influence on changing Two very different artists, Antonio graph that is transferred to an etching ↑) Liliana Porter, End of the Journey, 1980, photo-etching, the perspective of contemporary Berni (1905–1981) and Liliana Porter plate as a means of double mediation. serigraphy, chine-collé, 64,8 × 95,9 cm printmaking, looking for the creative (1941) became a nexus between the Forty years later, Liliana Porter and Luis

capacities of this discipline. A generation post word tradition in printmaking and Camnitzer continue to be active artists ←) Olga Billoir, of printmakers can be considered the new research in the eighties, when who cross the boundaries of disciplines, Malachite Temple, 1994, teachers-mentors: Fernando López democracy returned to Argentina. influence Latin American arts. They use intaglio collagraph, unknown dimensions Anaya (1916–1985), Alda Maria Armagni Painter and graphic artist Antonio printed media as a way of questioning (1927) and Alfredo De Vincenzo Berni implemented a breakthrough in our way of seeing, involvement with the (1921–2001), among others. They chose Argentine graphics in the 1960s with conventions of representation, and our printmaking as a principal means to his woodcuts combined with collagraph. inquiry into how these conventions express ideas. Others produced prints He recycles objects for his collagraph determine the ways in which we interact together with paintings as Luis Seoane plates, using his imagery as a reminder with the material world around us. (1910–1979), Antonio Seguí (1934) or of our consumer life. His exploratory Edgardo Vigo (1928–1997), considering work focused on society in combination ↑) Sergio Camporeale, their prints not as a reproduction of with printmakerly possibilities, and it Untitled, 1973, serigraphy, their paintings but as a new creative was awarded the Grand Prix for graphics 50 × 35 cm 14 15 ←) Juan Carlos Romero, Message 1, 1970, stencil, 100 × 30 cm

↙) Juan Carlos Romero, Violencia, 1973–1977 / 2011, view of the exhibition at the Biennial in Sao Paulo in 2014

(Photo courtesy of the Romero heirs)

and large works meant to update printmaking in Argentina, they pro- posed free use of printing techniques in service of non-traditional images to subvert traditional print and invade exhibition space with three-dimensional work, altering traditional print codes. The group was not linked to a uniform aesthetic proposal but from a criterion of freedom that included proposals which generated controversy about belonging to any sphere of printmaking. Each participant faced the graphic experience from an individual per- spective, being aware the most interest- ing challenge was the confluence of resources and diverse aesthetics. The group held its first show at the Museum of Modern Art in Buenos Aires in 1985, under the title Intuitions, Intentions, Impressions. Here, the members reite- rated the proposal to bring graphics were created. Their focus was not on fresh ideas and techniques. With the into space through alternative means the image or the subject but change in discovery of new techniques and the creating disorientation and controversy traditional exhibition art spaces to possibility of experimenting, many for those more apt to navigate towards transform by actions into militancy. Argentine printmakers continued their traditional work. The group dissolved They invented strategies to bring art training abroad, which fostered gross by common agreement in 1989 after its closer to people and taught printmaking cultural experimentation. Printmaking last exhibition. techniques as a tool, with the aspiration techniques were expanded through the Grupo Gráfica Experimental that this discipline be recognized as art use of offset, photo-engraving, screen (Experimental Graphic Group) formed for the people. However, in 1974 the printing, blueprint and later, Xerox in 1985, and once again had Juan group dissolved due to political differen- copies, which opened the possibility of Carlos Romero as one of its main ces between its members. making large-format prints. With these members, together with Rodolfo Agüero changes in technology, the conception (1946), Mabel Rubli (1933) Hilda Paz VI. THE DEMOCRACY EUPHORIA: of „artistic work“ as original also chan- (1950) Susana Rodríguez (1950) and EXPANSION OF PRINTING IN THE 1980s ged. Using the multiple as a means Andrea Moccio (1964). Among them, AND 90s itself offered new expressive and con- Mabel Rubli explored printmaking ceptual channels. In addition, in 1983, techniques and introduced the On October 30, 1983, President Raúl Oscar and Irene Pécora, print collectors collagraph technique in the country. Alfonsín assumed power in a free elec- that owned an art gallery devoted to She incorporated photogravure, tion after seven years of democratic printmaking, donated generously their , digital media and mixed media suspension. The triumph crowned important collection to the national often constructing 3D prints. After a vibrant political campaign, with mass government which gave the basis for being in Paris at the Friedländer demonstrations that restored rights to the National Museum of Fine Prints Workshop (1959), she was awarded the public expression without restriction. foundation. Georges Braque Prize (1964) by the The end of the seventies and begin- were spaces specific to their develop- institutions. Horacio Beccaria (1945), Everything seemed to be possible and In these fertile and creative times, French Government, attending the ning of the eighties (still under military ment as artists. Using mainly screen César Fioravanti (1933) Julio Muñeza at hand. The feeling that democracy two groups highlighted the discipline. famous William Hayter´s Atelier 17 in dictatorship) Argentina saw an printing, which was a completely new (1930–2016) and Juan Carlos Romero allows one to think, project, speak and Matilde Marín (1948), Zulema Maza Paris. This experience triggered the important evolution of collaborative technique for artistic prints at the time, (1931–2017) were not interested in the do anything spread rapidly. (1949), Mabel Eli (unknown birth year), opening of her own printmaking artistic groups that through printmaking their works denotes experimentation, commercial circuit but in public space. The same transformations were Graciela Zar (1945), Alicia Díaz Rinaldi workshop in 1969 where many impor- expressed political awareness and crossing technologies that advanced They carried out interventions in public flourishing in the art world. Theaters, (1944) and Mónica Billoir (unknown tant protagonists of contemporary discontent important to Grupo Arte printmaking. Giving their images areas such as squares, cultural centers, galleries, cultural centers and other birth year) formed the Grupo Seis (Six Argentine printmaking worked in col- Gráfico Buenos Aires (1968–1974) and a clear 1970‘s identity, they also distribu- cities far from the metropolis and in meeting spaces emerged everywhere. Group, 1984–1989). Several of them laboration with Mabel5. Grupo Grabas (1971–1978). Daniel ted their prints – as an insert – in CRISIS factories. Through public graphic acti- Artists participated in open exhibit and were artists who returned from abroad, By the nineties, the local and interna- Zelaya (1938–2012), Pablo Obelar cultural magazine in large editions of vities, artists explored social relation- award calls, many of them in tribute to looking forward to concentrating on tional scene offered a sufficient number (1933–1995), Sergio Camporeale (1937) 20,000. ships in the urban space and the way the recently recovered political system. research and experimentation.They of graphic art exhibitions in which and Delia Cugat (1930–2020). These Grupo Arte Gráfico Buenos Aires this space is transformed into a public There was a desire to reoccupy sites aimed to rank printmaking in the tradi- Argentine artists participated, as well members exhibited in museums, galle- (Buenos Aires Graphic Art Group) con- place for artistic activity, a place where neutralized by censorship, and a strong tional museums´ circuit as a major art as opportunities to travel abroad, from ries and biennials and believed these trastingly operated outside the artistic networks, and new forms of coexistence impulse to establish new ones triggering form. Through ambitious installations, which they gained new experience and 16 17

para el 2000 (1996) and later he joined the synthetic typographic expression – special interest in heliography because La Mutual Art-Gentina. In the last years in capital letters and in a forceful black she needed to print on objects. She re- of his life, he integrated the Group of color – install the urban, street image as searched and wrote a book about helio- Solidarity Visual Artists, carrying out a scenic reference for the word. Romero graphy in printmaking and stated: interventions in public spaces. It was leaves to the imagination, the memory „(she) re-signifies heliography because also part of the Red Conceptualismos del or the experience to the spectator for it allows for the materialization of my Sur (South Conceptualism Network). finding the inhabiting event. His works ideas“, and their final results allowed This dual path of group and individual always suppose an „other” reality as if a her to capture an aesthetic of absence, creation is essential to understand his reflective spectator, observer, or active disappearance, and oblivion that is re- work and diversity of media or tools participant will decode the message and lated to Latin American political histo- that he uses in his photography such as appropriate the statement, sometimes ry during the twentieth century. mail art, graphics, visual poetry, artists' explicit or encrypted. She employed these concepts for books and installations. While he In this way, Juan Carlos Romero exten- making her installations, videos, ac- erased printmaking limits, he showed sive body of work transcended aesthetic tions, and objects from the end of the us the power of image and word. His guidelines and trends of Argentine arts eighties onwards. Abandoning paper installation VIOLENCIA is a paradigmatic since 1950. His pieces were inscribed in and using objects, wood and walls as work of the Political Conceptualism in a diversity of format, technique and sup- her substrates, Sacco stated: „The photo- Argentina, mounted for the first time in ports. Throughout, Romero questioned graph embodies the instant, the heliogra- phy embodies the instant in objects that cannot be actors of that same instant. This temporary displacement leaves the ,aura’ of the work intact“. The effect that she achieves is disturbing – the print plays as a shadow or appearance that impulse to combine traditional tech- skillful in print media, having formal unfolds in an infinite combination of does not completely adhere to the sur- niques with experimentation. It was printmaking training. They used variables that break institutional and face of the objects. Here, the ghostly a decade that supported trials with the printmaking throughout their art pro- discursive barriers. As an artist, a poli- kind of photographic images obtained interconnection of various graphic duction, disarticulating it from mere tical activist, performer, instructor and printing on walls and other non-tradi- techniques – gravure, offset, screen technique. They did not focus on tech- mentor of several generations, his life tional fine print surfaces (spoons, wood printing etc. With such technological nique itself but incorporated it as and work were developed under the fences) are closely related to an artistic changes, the understanding of an a meaningful resource. This allowed same ethical and artistic principles discourse that alerts us and confirms „artwork“ as original also changed. them to reflect on other issues including until the end of his life. He was part of that something is not right in our soci- Artist realized that reproducing images public/private, limits, space, migrations, several groups including: Graphic eties. with or without changes during print- memory, repression and marginalization Art-Grupo Buenos Aires (1970); the Portrait, from Admissible Tension ing processes, offered new expressive among others. Group of Thirteen (1971–1975); the series, is an installation of knives. In and conceptual possibilities. In the museum or on the street, group Gráfica Experimental (1986–1988), the darkness nothing is revealed. Only Reaching democracy in 1983, the joining a group or alone, with images Escombros: Artistas de lo que queda when the spectator illuminates the kni- new freedom allowed for experimenta- or words, Juan Carlos Romero's work (Rubbles: Artist of What Remains); 4 ves, eyes which have been previously tion in printmaking and new combina- printed on the metal blade – appear tions of techniques opened up a wide projected onto the wall. In this way, the repertoire of technical and formal work raises the viewers’ compromising possibilities. All this freedom of technical role in contemporary world problems scrutiny, at a time when democracy concerning us all, such as migration or was flourishing, eventually became an 1973 and recreated again for the 24th conceptual and technical printmaking marginalization. almost self-serving goal delaying International Biennial of Graphic Arts and chooses the multiple as a political important innovation. Graphic artists, (2001) in Ljubljana, Slovenia and the stratagem in the transformation of ways VIII. A GARDEN OF FORKING PATHS proud to have mastered the new tech- Argentine National Museum of Fine of life. He pursued interventions in (2000–2020) niques, seemed to have forgotten that Arts in 2016. The piece consists of an spaces outside of the institutional artis- to communicate something with their extensive juxtaposition of posters on tic circuits looking towards greater audi- In The Garden of Forking Paths, Argen- works was just as important as the walls of a room with one only word dis- ence participation. He interfered in tine writer Jorge Luis Borge describes research itself. played: "violence". The cheap paper and relations between fine art prints, media a labyrinth of paths and directions of image and popular graphics through alternate realities. As in Borges´ story VII. JUAN CARLOS ROMERO different operations of appropriation as (during hazardous and interesting ↖) Silvia Brewda, AND GRACIELA SACCO Sonorous Crowds, well as assemblages of texts, and images times), the steps of Argentine printma- 2018, lithography and textile, 85 × 160 cm from various sources. Finally, he incorpo- king mark diverging paths. All of them Juan Carlos Romero (1931–2017) and rated the body as territory of conflict are available, may be experienced and ↑) Graciela Sacco, Graciela Sacco (1954–2017) were two Admissible Tension, 2015, which register the power relations that taken at the same moment by Argentine irreplaceable artists among the Argen- installation in Banco de la República regulate the individual and social order. creators. With a rich historical back- in Buenos Aires tine printmaking universe. Both crea- Like Romero’s pieces, Graciela ground, contemporary Argentine tors passed away in 2017 but left ←) Graciela Sacco, Sacco’s artwork manifests itself with printmaking in its forms, contents, Victory (from the Body to Body a strong legacy, building a bridge series), 1996–2011, installation an economy of elements, expanding senses and uses, become inquisitive by between the twentieth and twenty-first in the Casa de América in through space and installation. nature and extremely broad in its ways centuries into the Argentine graphics Printmaking processes appear here as of expanding conceptual and technical panorama. Romero and Sacco were infiltrated, almost imperceptible, with searches. It is in the fundamental quali- 18 19

Argentine printmaking presents a mul- ceived modern art movements. After tiplicity of international poetics, using returning to Argentina in 1932, he pre- all materials, formats, supports, ideas sented the accounts of his trip to Europe and technologies, with great creative at the Amigos del Arte Gallery and has freedom. Contemporary Argentine ANTONIO BERNI since become fully integrated into artists do not see printmaking as a Argentine art life. It also earned him technical means of reproduction but as recognition in the way of various local a visual language, one that has expanded AND ALFREDO and national awards. From 1937, he beyond its originally narrow bounda- taught drawing at the Manuel Belgrano ries to encompass an ample vocabulary National School of Fine Arts (Escuela where technically rhetoric proposals BENAVÍDEZ BEDOYA Nacional de Bellas Artes ‘Manuel have lost their value. Instead, provoca- Belgrano’). In 1939, he was given an tive issues and resignification are PAVEL ŠTĚPÁNEK important work commission – the deco- gaining ground, with the idea that art ration of the Argentine pavilion at the is not obliged to provide answers but International Exhibition in New York. helps point the way, and print media is Antonio Berni was born in 1905 in the a scholarship from the Jockey Club of He also studied art theory, and in 1941, one of the more powerful tools in city of Rosario in the province of Santa Rosario and a provincial scholarship at the instigation of the National Cultu- which to do it. Fe in Argentina and died in Buenos from Santa Fe, he went to Europe in ral Commission (Comisión Nacional de Aires in 1981. He thus belongs to the 1926. He started in and went to Cultura), he received a scholarship to 1 de ANDRADE, Oswald. Manifesto of Anthropophagy. older generation of artists of his country, Paris via , where he stayed until travel to Latin American countries to ty of „our contemporaneity” we find its 3. a kind of fatigue with the traditional 1928 which made Argentine art visible at 1931. In the capital of France, he stu- study American colonial and pre-Colum- ability to exist in multiplicity of identi- printmaking substrate, the paper, the international level. He began his died with André Lhota and , bian art. ties and contradictions. Printmaking coming from a frustration with the size 2 FRANK, Patrick. Los Artistas Del Pueblo: Prints and artistic career in his hometown with an but his biggest school yet was his open- He often exhibited abroad: in Paris, has always embraced this multiplicity. limit of printing papers, triggering Workers' Culture in Buenos Aires, 1917-1935 UNM Press, exhibition in 1924. When he received ness with which he received and per- at the Museum of Modern Art in Miami, It is not only because multiplicity is artists to seek out new alternatives 2006 inherent to its own technical condition both in materials and measurements. but also because its capabilities of re- (Esteban Álvarez, 1966). 3 Corrientes, “the street that never sleeps” is an avenue gistration, serialization, replica, dupli- in the city of Buenos Aires famous for being a symbol of cation, repetition and simulacrum, 4. the indifference to represent the night life in the city. which are primary mechanisms used external world. The abandonment of by artists in contemporary art practi- representation as mimicry lead to 4 MARIN, Matilde. Panorama del grabado argentino ces. Today this multiplicity acts like including photographic images and (1960–1990). Essay for the catalogue “Discursos a model for constructing meaning at work with archive and appropriations gráficos” exhibition at OSDE Space in Buenos Aires, epistemological, technical, and artistic of other images (Ana Dolores Noya, Argentina. levels addressing certain trends: 1963). 5 TAVERNA IRIGOYEN, Jorge. XI General History of the 1. a strong focus on the reinvention of 5. consideration of the past and concern Argentine Art: Chapter Printmaking. National Academy the technique in response to new neces- for the future. Some search for the past of Fine Arts. Buenos Aires, Argentina. 2013 sities of expression. Artists believe that looking for the traces of a multiple certain kind of expression cannot be identity while others concern about fully met by traditional techniques lea- a threatening future. (Juan Reos, 1983). ding them to look for new hybrid pro- cedures as digital techniques transfe- As an example, Juan Reos – an artist of rred to traditional matrixes or new use the young Argentine generation that of traditional processes expanding to used printmaking deliberated as a con- other disciplines. For them, technique is ceptual tool – says: „There is something not a simply a choice but the culmina- paradoxical in the choice of printmaking ting point in a search for a contempora- as a medium, absurd. Trying to docu- ry medium capable of createsymbolic ment a past in the present with an even systems. (Cecilia Mandrile, 1969) older medium is a procedure (trans- -epoch) destined to fail, and it is because 2. the recovery of the third dimension it is impossible that it allowed me the and of object as a deliberate attempt to freedom to do so, without the real re- break with the traditional definition of sponsibility of documenting. I would like printmaking as a reproduction method. this work to raise doubts about the

The idea of the multiple distances itself means of reproduction, representation ↖) Pohled do instalace výstavy from editions in order to move toward and documentation, the distance that Pocta Graciele Sacco v Teatro Auditorium a development of strategies in image always exists between the documentation de Mar del Plata, Buenos Aires, 2019 making. This has more to do with and what is documented.” ↗) Antonio Berni, installations or urban-environmental Matador, 1964, xylo-collage, embossment, interventions. Prints in series and works IX. CONCLUSION 109,8 × 58,5 cm based in accumulations are taking full →) Antonio Berni, advantage of multiplicity. (Andrea Based in a rich tradition that hearkens Colonel, Ramona’s Friend, 1963–1964, Moccio, 1964; Silvia Brewda,1949). back to the seventeenth century, xylo-collage and relief, 100 × 64,4 cm 20 21

woodcut blends with the print from the collage, which this time gains the upper hand. And more figures are added, composed of flat found objects attached to a wooden matrix: a priest, a bullfighter, a colonel, Don Juan, a bishop, etc. Social feelings, diversity and artistic invention are thus the basic character- istics of Antonio Berni’s work. However, Berni was not alone in the field of Argentine or even Latin American art. Latin American artists have become, and in many cases continue to be, one of the driving forces of world modern art. Prominent artists have come from Cuba (W. Lam), Chile (R. S. Matta), (Oscar Muñoz), Venezuela (J. R. Soto) or the Mexican and Brazilian schools and many others. One of those to be mentioned here was Alfredo Benavídez Bedoya (1951–2019). He was born in Buenos Aires, where he also studied. He then went to Madrid, and in 1999 received the Guggenheim Prize, allowing the laureate to expand his education in New York. He later participated in ↖) Alfredo Benavídez Bedoya, a number of biennials and won many Crime to Order, 2015, linocut, 64 × 44 cm national and international awards. On the domestic scene, his role was more ↑) Alfredo Benavídez Bedoya, Theory of the only possible lie at the end pronounced when he became an asso- of the second millennium – Grilling at the ciate professor at a school named after end of the century, 1997, inocut, 60 × 80 cm Madrid, , , and became a poor proletarian boy named the prominent Argentine artist Prilidiano . His works are represented Juanito Laguna. Berni wrote a novel in Pueyrredón. in many world museums, to name just pictures. A novel of misery, small joys Bedoya was an artist that used the a few the Museum of Modern Art in and hopes of Juanito and his family, traditional potential of graphic art. New York, the National Museum of Fine imbued with the spirit of humanism. However, his interest was not limited Arts in Montevideo, and the Museum of To best express the character of the to print art; he also worked as a theo- Saint Denis in France. The greatest offi- environment of the neighborhood rist, ceramicist, essayist and poet and cial achievement of A. Berni was the where Juanito lives, he chooses also as a member of the committee for International Prize for Graphics and a unique technique: he collects all international graphic art exhibitions. Drawing on XXXI. Venice Biennale. Seve- sorts of rubbish and then creates He is also famous as an illustrator of ral of his works have also appeared in remarkable and assemblages books, especially in the USA, Japan and Prague at occasional group exhibitions. from it. Spain, especially for his classically In general, his work can be charac- Berni uses a whole range of garbage, conceived linocuts, remotely based on terised as follows: At first he was much from the trunk lid to the knob. In paint- Mexican print art. attracted to surrealism, but it did not ings, pieces of rags, papers, newspa- His works are characterised by take long before he created his own pers or corrugated paper or wood a strong black-and-white tone of the style, in which he combined extracts of become artistic material. The battered figures drawn to the caricature and all artistic styles and movements that and deformed metal bowls serve as often representing a scathing commen- he engaged himself with, from Fauvism carriage wheels, and very often there tary on social and political practice. to , while always building his are remnants of metal strips stamped Sometimes they are refined allegories, work on reality and social issues. The by the press. other times an almost explicit parable drawing was robust, the colour was The idea of Juanito remain with the articulated by expressive language, ↖) Antonio Berni, Saylor, Ramona´s Friend, 1964, often very pronounced, the figures ten- artist even in his graphic art. However, uncompromisingly criticising, for xylo-collage, 98,2 × 64,2 cm ded towards naturalism and thematical- Juanito Laguna is not the only main example, the role of the church or mili- ↑) Alfredo Benavídez Bedoya, ly leaned towards national motifs. character. He will soon be accompanied tary structures. In Bedoya’s work, print Jury, 1993, linocut, 60 × 80 cm These are a few characters that had by a girl – Ramona Montiel, also born of art returns to its original mission of →) Alfredo Benavídez Bedoya, persisted in his work for a long time the garbage of the big city. speaking in a critical voice, mocking Source of Abundance, 1998, with the addition of Art Informel and After returning from Europe to his human stupidity, expressing exaggera- linocut, 61 × 82 cm which had been awarded in Venice. homeland, Berni began creating large tion and irony, or spicing up images

The main character of an extensive graphic sheets in which he recollected with bitter humour. cycle of his paintings and graphics his life in Paris with nostalgia. The 22 23

Pushing against the constraints Conversations with LIGHT/MATTER Artists at the Convergence of Photography & Printmaking than 1,000 international artists to from sixteen countries, had been nated by technical talk, with “everyone imposed by conventional divisions of select works of art for this exhibition. following one another’s work afar for comparing their newest camera equip- photography and printmaking practices Our research was guided by the vast decades through exhibitions and cata- ment.” Instead, it introduced her to as well as the trepidation expounded pollination of this movement across logs from international print biennials a larger group of likeminded creators by some peers, jurors, curators, and CONFLUENT cultural settings, ranging from those and triennials. Lacking opportunities with a vast diversity of output and cul- critics entrenched in tradition, apt to welcome new methods to those to engage in the spontaneous conversa- tural viewpoints. Golomb was already pioneers of this practice only strength- where handcrafted traditions have tions and critiques that occur in such familiar with UK-based artist Margaret ened their resolve. Seminal works MOMENTUM dominated the creative process. We settings as studios and bars, they un- Ashman and Taida Jasarveric, a teacher merging photographic printmaking noted similarities and differences along earthed commonalities of practice and at the University of East Sarajevo. She processes were produced in this TRACY TEMPLETON with incongruences found in major aesthetic interests across vast distances. had met both at Guanlan Print Base, atmosphere of both apprehension and printmaking events and the understand- The opening of LIGHT/MATTER provi- China, after all three won awards at experimentation, yielding a new visual Over the past sixty years, artists working within the ing (or lack thereof) of the arduous ded a unique opportunity for participa- the 2011 International Print Biennial. language that has not only endured but complex confluence of photography and printmaking work involved in material translation ting artists to meet in person while in Discovering an extensive community inspired countless other artists. of photo/digital crossover. Selecting 40 the presence of their work. One artist and seeing the distinctive means of I have been fortunate to have worked have left an indelible imprint on the evolution of individuals to represent the history, was overheard exclaiming, “It’s like incorporating visual fields were affirm- with artists for which hybridity— printmaking media. The integration of photographic evolution, and current state of photo- coming home!”, articulating the excite- ing for Golomb. Influenced by these before it was known as such—was graphic printmaking, we uncovered ment found in a unique “coming toge- connections, she began integrating a natural extension of printmaking. At images into printmaking and classification of the influential artists with a commitment ther” that further validated a career’s bold colors and more vigorous hand- the institution where I now teach, subsequent hybrid under the umbrella of printmaking to revealing deeper complexities and worth of creation in photo-print. Over made marks into her meticulous photo- Indiana University, printmaking graduate —more commonly associated with traditional the profound but intangible results of the past three years, these artists have -gravures to expand contrasts in her students arrive from their undergra- experience found in this methodology. deepened their connections as well as imagery and create dual, metaphorically duate alma maters with a mix of pre- hand-worked techniques—have begged expansion The exhibition and symposia premiered further exploring their relationships resonant interactions. dispositions created in part by diverse into new frontiers. at Indiana University’s Grunwald Gallery with their imagery and photography. L. Golomb, interviewed by the author, November 26, 2020. geographical origins and the resultant and traveled to the University of Alberta regional differences in creative and sublimates photography, printmaking, runners’ legacies, which I and others Museums Gallery A (TELUS Centre) LESLIE GOLOMB, MARGARET ASHMAN institutional practices. Some are sur- or multiple medias as modes of think- vested in the field strive to preserve and FAB Gallery in 2017 and 2018 an independent artist based in Pitts- has continued her work using still prised by the openness to cross-pollina- ing. They manipulate photography and augment. respectively, accompanied by a seven- burg (USA), explains that prior to images from professional dance videos tions. They are excited by combinations throughout the printmaking process, In 2015, I co-curated LIGHT/MATTER: ty-two–page catalog. LIGHT/MATTER, she didn’t know all of with permission from the artists, dan- that freely catalyze the organic process reworking their imagery to explore the Art at the Intersection of Photography Many of the artists chosen for the artists included but was relieved cers, and videographer. This enables of seeing and feeling, including photo- print’s physicality through material & Printmaking with Walter Jule, professor LIGHT/MATTER, which spanned artists and thrilled to discover printmakers her to spend less time behind the graphy, as well as extensive access to resistance and tactile awareness while emeritus at the University of Alberta using the same language as her and camera and more time outlining the technologies and equipment. Stepping bringing to fruition and distilling the (Canada), and Ingrid Ledent, professor seeking interrelated outcomes in print- image, working the plate, and resolving outside the considerations of their edu- essence of the subject. It is heartening at the Royal Academy of Fine Arts -media. Not knowing what to expect the etching print. Previously, she ↑) Alicia Candiani, cation thus far, they are encouraged to to watch this new generation of print Antwerp (Belgium). The curatorial Cartography of the Soul, Thread 2, 2017, from attending the symposia, she documented her models herself, but reexamine and reevaluate imagery that artists thrive, galvanized by their fore- team reviewed the careers of more photo-lithography, chine-collé, 56 × 152 cm feared the conference would be domi- the pandemic forced a new means that 24 25

←) Briar Craig, A Smatter of Fact, 2018, has clarified her passion for the media’s cting her roots in Argentina and furthe- revisited LIGHT/MATTER elements in serigraphy, 74 × 104 cm tactile process and presence. Her ring waterless photo-lithography at the Photomatter with two fellow LIGHT/ ↓) Janne Laine, recent work is small, intimate, and residency. The book investigates transi- MATTER artists, the aforementioned Almost Midnight I, 2020, grainy from over-enlarging stills and tional states between material presence Liz Ingram along with Marlene polymergravure, 40 × 60 cm a forced focus on the figurative relation- and the ephemeral with the aid of photo MacCallum, professor emeritus at ↓) Derek Besant, ship and movement of visual noise image; paper and ink; light; and fabric Memorial University of Newfoundland. The Dark Woods, 2018, translated through coarse digital/pho- to tap the essence of memory. They were joined in this collaboration digital prints installation tographic resolutions. L. Ingram, interviewed by the author, November 26, 2020. by David Morrish, who had previously Margaret Ashman, interviewed by the author, collaborated with MacCallum on the November 29, 2020. REBECCA BEARDMOR 2003 book Copper Plate Photogravure: (a lecturer at Sydney College of Arts, Demystifying the Process, and Rebecca ALICIA CANDIANI, Australia), has spearheaded a panel at Mayo, a lecturer at Australian National director of the prestigious Proyecto´Ace IMPACT 2018 in Santander, Spain. She University. Beardmore used her prac- in Buenos Aires, Argentina, is a propo- nent not only of printmaking but also unique combinations of printmaking and photography and architecturally informed installation. She is an emissary for Latin American art, and she lectures and writes about its history and deve- lopments, sharing in various forums around the world. In her catalog essay for LIGHT/MATTER, she focuses on seminal Latin American artists such as Liliana Porter, whom she says ques- tions our way of seeing, conventions of representation, and how they determine the ways in which we interact with the material world around us. Having ticed experience as a jumping-off point without barriers between the viewer Island College who has spent the better known and been influenced by Porter for dialogue with the other artists on and the piece—no glass, no glazing—to part of the past thirty-five years teaching for years, Candiani appreciated the theirs, together touching on conversa- display the photography surface without printmaking. opportunity to reconnect while writing tions begun at LIGHT/MATTER and ex- reflections (such barriers also obscuring Briar Craig, interviewed by the author, November 25, 2020. her article. This experience sparked panding creative discourse on the onto- the tactile surfaces of printmaking the development of a new series titled logy of printmaking while providing media). Celebrating the physicality of JANNE LAINE Cartographies of Soul inspired by Por- a broader scope for material production the print itself, photographers were has also expanded into photography ter’s The Line (1973). Porter explores and contextual frameworks. invited to explore the physical qualities venues with a solo exhibition, Towards the paradoxical relationship between of ink or emulsion on paper without Abstract, at Photographic Centre Nyky- reality and fiction, whereas Candiani BRIAR CRAIG, hiding surface, texture, and material aika in Tampere, Finland, which opened investigates the mythical metaphor of professor of printmaking at the Univer- under glass. Entries were selected by in November 2020. Janne notes that the the female role. sity of British Columbia’s Okanagan Guest Juror Stephen Fisher, a master cultural art history in Finland is not as A. Candiani, interviewed by the author, November 28, 2020. campus (Canada), noted that concur- printmaker and professor at Rhode entrenched as it is in some other coun- rent to his invitation to participate in LIZ INGRAM, LIGHT/MATTER, he had applied to professor emeritus at the University of several photography exhibitions. His Alberta, says she is a comfortable pho- digital and screen-printed works were tographer after decades of experience accepted into several of these shows. with layering and splicing in analog In 2019, his ultraviolet screen print, and digital and forty-one years of teach- A Smatter of Fact, was selected for ing various processes. For her, the out- The Naked Print, a juried exhibition set of the symposia provided a pro- focusing on alternative processes at found cultural connection with Candiani, the Rhode Island Center for Photogra- a longtime friend she had not seen in phic Arts. The show employed uninhi- person since 2008. Candiani knew bited means of presenting photography Ingram had been born in Buenos Aires, and conversation over a departing dinner evolved into a unique exchange ↖) Leslie Golomb, Butterfly, 2020, photogravures, in which Ingram stepped in as temporary 22 × 30 cm director and resident artist at Proyecto ↖) Margaret Ashman, 'Ace while Candiani was being honored Keep Dancing, 2019, as the Theodore Randall International photo-etching, 60 × 48 cm Chair of Expanded Media at Alfred Uni- ←) Liz Ingram, versity (New York, USA). Over this Touching Gravity, Book 2, 2018, four-month period, Ingram created waterless lithography, relief, linen bound book, 31 × 30 cm Touching Gravity, a photo book conne-

26 27

↑) Ingrid Ledent, Mindframe II, 2018, lithograph on digital paper, 65 × 165 cm

←) Tadayoshi Nakabayashi, Transposition ’04 – Ground-1, 2004, etching, aquatint, dry-point, 56 × 76.5 cm

geometric shapes, distorting the picture plane. These works continued on to Denmark for the Jutland International Video Festival in 2019 with film of the same subject. Besant, who moves easily between analog and advanced techno- logies, excavates new terrain and approaches to hybrid print media by reinvestigating analog methods as ways of dissecting advanced technologies. D. Besant, interviewed by the author, November 28, 2020.

tries, so experimentation is common- Others have forged a distinctive path MONIKA NIWELINSKA place. EEVA-LIISA ISOMAA, also from between photography and printmaking, (currently based in Chicago – USA), is Finland, echoes this, noting that she which often extends into alternative an assistant professor at the Jan Matejko often exhibits with painters, exploring substrates and video. Academy of Fine Arts in Kraków. She her works through not only photography uses technologies more commonly and printmaking but also book, sculp- DEREK BESANT, associated with the sciences to initiate ture, and installation. She feels free to Derek Besant, professor emeritus at her photographic imagery. Niwelinska ↑) Paul Coldwell, Frames Branch & Leaf Green, 2018, merge cultural impressions via reflection Alberta College of Art & Design (ACAD), approaches research laboratories and relief from laser cut blocks, 56 × 76 cm and memories of landscape. In her most exhibited large-scale prints at the abandoned test sites, where she acces- recent work, she combines the Roman Vernon Public Art Gallery in British ses gamma rays, uranium salts, and ↗) Walter Jule, Negation of the Absolute No 1, 2018, tile imagery of Villa Lante with that of Columbia, Canada in 2018. Besant crea- radioactive isotopes in the production lithograph, chine collé, 101 × 76 cm her childhood home, circumventing ted these prints by holding a unique of her photosensitive plates, irradiating

↑) Karen Dugas, time/place assumptions in its relation- mylar material in the forest near his them. By placing her plates in the Light in the Wilderness No 2, 2020, ship to history. Laine’s scapes require home just outside of Calgary, Canada, presence of these active energies, she digital print, 101 × 76 cm no speculation on the original location and allowing light to cast through it, captures the essence of light and mate- →) Monika Niwelinska, or its actuality; rather, they are univer- gathering shadowy images he then riality as metaphors for memory, trace, irradating a photosensitive plate sal pictures in which the landscape is captured photographically. The resulting scar, and perception—the invisible is at Trinity site, New Mexico, in USA, 2017 shrouded beyond recognition. images are reminiscent of celluloid or made visible in her resultant prints. J. Laine, interviewed by the author, November 30, 2020. film surfaces output with UV latex inks, Monika Niwelinska, interviewed by the author,

E. L. Isomaa, interviewed by the author, December 4, 2020. scaled to life-size, and recomposed as December 3, 2020. 28 29

PAUL COLDWELL versity of the Arts, continue their Light/Matter” for the LIGHT/MATTER who create through print media—to has a career also spanning sculpture long-established careers in print media catalog in 2018, has since lectured collaborate, support, share, and unite. and artist books. He notes it is the and this significant movement. Among across Japan on topics of contemporary At immersive events like LIGHT/MAT- broader ideas that define the company their many roles as cultural icons in art, including subjects from the LIGHT/ TER, artists can coalesce around discu- he wishes to be seen with. A professor Japanese printmaking, they both jury MATTER catalog at Ashiya City Muse- ssion, make observations, put names to of fine art at the University of the Arts for Art Village Shirakino’s print compe- um of Art and History, Hyogo; Okinawa faces, reckon past and future direc- London–based Chelsea College of Arts, tition in Nagasaki prefecture. In 2021, Prefectural University of Arts, Okina- tions, and share from one’s studio Coldwell has been laser-cutting blocks they will show together there in a three- wa; and Tama Art University in Tokyo. practice. The success of the LIGHT/MAT- derived from photos in the ensuing -person show along with artist Chihiro Currently, he is facilitating the transla- TER artists did not happen in a vacuum years since LIGHT/MATTER, a transition Watanabe, who passed away in 2006. tion of the main essay from LIGHT/MAT- but rather because of these artists’ abi- for him. He enjoys creating the image Watanabe made a replica from the ori- TER for the Japan Society of Printma- lity to look inward in combination with with an emphasis on line, dissembling ginal engraving print “Holy king‘s annual yearbook, which will be outward research and reach. Through it into layers and highlighting the Mother in ,” important to the published in March 2021 with an this internationality, they bring a diver- contrast between the blocks’ surfaces township of Arie of Minami-Shimabara inclusion of Kimura’s comments and sity and breadth to their work and the to form the image’s implied space, City and its cultural history in Nagasaki notes as translator. The annual is dis- field. Connected by a visual language, important to his concepts of absence prefecture. Noda and Nakabayashi tributed by the society through its they do not focus on “how” but on and presence. Identifying as a printma- work in distinctly different process and members, including independent ar- “why,” often crossing cultural/border ker, Coldwell acknowledges that emerg- concepts but find similarity in the labor tists, teachers, curators, critics, and assumptions. Besty Stirrat, director of ing themes and ideations are often of their work, purposely employing those in creative industries. Informa- Grunwald Gallery, where LIGHT/MAT- buried under a broad definition of outmoded reproduction technologies tion is shared by and amongst students TER premiered, noted that she had never technique but that the artists featured that transmute their imagery. Noda through educational holdings of the had so many different nationalities in LIGHT/MATTER overwhelmingly transforms photo through drawing book in their collections. Kimura, convene in person for an event before. foreground ideas over process—despite using a mimeograph machine and a well-respected printmaking artist With a joint interest in this movement’s their practiced precision and experi- Nakabayashi via photocopy in addition and retired professor from Kyoto City history and knowledge not previously mental aptitude. to multiple processes to resolve imagery, University of Arts, hopes inclusion of well-recorded—combined with historic Paul Coldwell, interviewed by the author, producing prints manifestly represen- this essay in this important document disconnects hastened by pandemic November 30, 2020. tative of their established and unique will shed light on this consequential responses—these artists continue to conceptual threads. movement, especially for developing invent from a sensibility of sincerity Many of the LIGHT/MATTER artists Tetsuya Noda, interviewed by the author, December 6 and future artists. and endurance. They expand the reported gaining fresh outlooks from and 8, 2020. Hideki Kimura, interviewed by the author, December 5, 7, peripheries of printmaking, and their the exhibition. Tadayoshi Nakabayashi, interviewed by the author, and 8, 2020. visual vernacular continues to have December 8, 2020 a critical impact on the evolution of all KAREN DUGAS After speaking with many of the LIGHT/ print-media. (Alberta, Canada–based artist), felt INGRID LEDENT, MATTER artists during the writing of renewed interest in her previous ana- (recently retired from the academy in this article, I am reminded that art (re) log photo-print work after seeing it in Belgium) is LIGHT/MATTER Co-Curator. the context of similar-minded artists’ She now teaches lithography courses works. The experience gave her a new at Shanghai Academy of Fine Arts perspective as she evolved her current (SAFA) at Shanghai University, China. suite using light and materiality as Students there are excited to experiment a balance of spirituality and space. and combine their tactile knowledge of There is an uncannily familiar aura in traditional arts. She uses the LIGHT/ her 2020 digital chine-collé Light in the MATTER catalog to encourage their Wilderness no. 2, which clearly reso- curiosity as they apply photographically nates with her 1983 postgraduate piece derived elements to stone, further miti- Inarticulate Speech of the Heart for Van gating the photo through drawing Morrison displayed in LIGHT/MATTER. techniques and balancing its usage with The print was recently purchased by their rich history in hand-rendered the Moderna Galerija Collection in media. Ledent herself uses photography Slovenia and exhibited in fall 2019 in such a way that it is often unrecog- under the exhibit title Collection of the WALTER JULE a specific surrounding environment. nizable as such in her completed imagery. Biennial Prize Winners: Shift in the is widely recognized as a leader in the Adding geometric or “universal” She seamlessly transcends the intersec- Canon, celebrating its prize-winning photo-print movement and structures by way of repetitive orbital tion of photo and analog methods by status from the 16th International Bien- LIGHT/MATTER Co-Curator. He often shapes—holes hand-cut into the gampi repositioning it in layers and subverting nial of Graphic Art in 1985. Launched in uses discrete combinations of light, chine-collé layer—he creates expression the photographic image through rich 1955, the biennial began adopting new reflection, and materiality in calculated through evaluation. Jule’s conceptual color and textural pattern. Shown at the connects us, sustains us, and serves ←) Tetsuya Noda, art technologies and means of dissemi- sequence to create his images. His investigations forge an almost alchemic Leo Gallery in Shanghai in 2018, her as an instrument of diplomacy, even in Diary, May 21st, 17, 2017, woodblock, screenprint, 37 × 56 cm nating visual information in 2001, methodological assemblages translate energy in his juxtapositions of light work Mindframe illustrates her method times of a contracted reality such as signifying a notable change in direction. a particular moment in time, captured and material presence. perfectly. the one in which we are now living, ←) Hideki Kimura, Drops of Water on Charcoal, 2017, Dugas’s award halfway through this photographically, to generate his enig- W. Jule, interviewed by the author, December 1 and 7, 2020. I. Ledent, interviewed by the author, December 6, 2020. tempered by the pandemic. Although silkscreen, 76 × 56 cm timeline points to the evolution of the matic images. His work Negation of the contented to be alone as we frequently ↑) Eeva-Liisa Isomaa, event’s growing interest in trans-media Absolute No 1 extends his process, TETSUYA NODA HIDEKI KIMURA work in isolation during intense The House of Livia, Mosaic Girl, 2017, as a means of exploring concepts. using mirrored material that is tor- AND TADAYOSHI NAKABAYASHI, who wrote the essay “A Journey from periods of focus, we nevertheless feel 3-dimensional pigment print, 75 × 105 cm Karen Dugas, rozhovor s autorkou, 23. 11. 2020. ched, melted, and deformed to reflect both emeritus professors at Tokyo Uni- Photography in Contemporary Art to a strong desire—especially those of us

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An Interview with Martin Velíšek But the content of a message and its adequate form—actually putting both in accord, this unique selection of tens, hundreds of partial decisions in the BUT IT TASTES GOOD entire process of creating artwork— constitute a very specific and original addition. Which goes beyond craft. AS A WHOLE Craft could be learned. It could be passed on. However, how you approach BARBORA KUNDRAČÍKOVÁ it, how you relate to it, and how it will serve you, that is unique. So, craft is I was invited to interview Czech artist Martin Velíšek a prerequisite and art is its unique, (b. 1968) just at the moment when the exhibition Post. creative utilization (its result, applica- tion, fulfilment). And beware, it’s not Print (2019) that I curated for the Olomouc Museum of just its use! ‘Using’ stands for a more Art was about to end. The show thoroughly mapped less passive activity. ‘Utilizing’ signifies local collections of fine art prints. During the research an intentional activity, active and crea- tive. It can’t work without craft in a I stumbled upon texts by Polish art historian Dorota long term. You could get lucky to make Folga-Januszewska. I was most interested in the one it work once without knowing anything about the thing itself or how to make included in catalogue of the 10th edition of it. But to repeat it, you must think and International Print Triennial Krakow (Silesian try to understand what happened. Art Museum in Katowice, 2018) in which she used is not a result of incidents. You begin exploring principles or particularities for the first the term “pangraphism.” of a thing and you arrive at craft. And it is not just a question of manual labour. Naturally, I was intrigued by the prefix ce to an artist who calls himself a pain- Knowledge of Photoshop for instance “pen.” It is rather funny that printmak- ter yet his work is frequently praised in represents craft. I think that if you -ing—a medium long overlooked by a context of printmaking. want to do something systematically both the expert and general public— and for a long time, you cannot avoid should be suddenly recognized as one Martin, when contemplating printmaking, developing a minimum amount of craft that significantly influences formation I instinctively think – "art and craft," or skills. of all human perception, thinking, ima- actually "tradition and trend." Both noti- I am not sure if today we feel embar- gination, and self-understanding. Abili- ons related to discussions about digital rassed for crafts. Crafts is a certain ty to connect areas, strategies, and print or monotype as well as the very tradition. And at times when tradition functions, which are under normal cir- own position of the medium in context of is being abolished, taken down, ruptu- cumstances understood as autonomous contemporary (post-media) visual red in the name of “absolute” artistic or even in opposition, is something landscape. Do you ever consider them? freedom, craft could appear as an ana- that deserves our attention. And chronism. Tradition means continuity, a print as such is indeed a good example I do but rather in a general sense. I see and to keep continuity is not ‘in.’ Not of how a bundle of elements, colours, arts and crafts like two connected many people wish to continue in some- shapes, and meanings gives rise to vessels. Today (actually from the time thing. We want to be new, special, a structure—a hierarchized visual system, of John Dewey) I find it absurd to strictly exceptional… A formal exceptionality which is in addition open and flexible. identify and separate categories. is visually the most satisfying. And sur- How does all this relate to Martin? I think they relate to each other and prisingly, destruction or technological He likes to employ definitions and pervade each other, not necessarily in anarchy, vulgarity, lack of sensitivity, words, he teases them, yet his work a balanced proportion! Craft represents illiteracy, and lack of knowledge are all remains firmly anchored, almost everything that enables us to commu- acceptable within this “exceptionality.” settled in material sense. As a result, nicate. For me it includes even such he can use as he thinks fit various app- elementary facts as how to hold a pencil, I am asking perhaps also because I am roaches and media—in a slightly ama- that pencil leaves a trace… or even familiar not only with your artworks but teurish way, that is unorthodox or one’s experience with a line… I must with your creative work in design. I have non-traditional, but always with know where is the camera’s push always found your "little boxes" more a professional approach. I, who could button or in what format a short video like brain teasers—games in Gadamer-like not draw even a bird, imagine that his can replay a photo frame. But it also sense of meaning… mind and hand function based on involves negation, that is an intent- a principle of comparative linguistics. ional denial of methods or experiences. The theme of understanding plays an By learning a new language, you enter It is a paradox but “craft system” does important role also in packaging design, a territory from which you can oversee not need to be necessarily so visible all others. For me, that is exactly what in art (particularly in connection with ↖) Martin Velíšek, “pangraphism” also means. And it is intermedia works – simply because it Fauteuil IV, 2016, personalized intaglio what informed the structure of our con- uses also other systems, often non-artis- technique, 24,5 × 30 cm versation. The goal was to provide spa- tic) as for instance in literature or music. 32 33

using a brain teaser is not the right And isn't complexity, which you describe, content of the word means to search, Do you think it is possible to innovate in way to go. We should find a meeting more a general feature? Doesn't it maybe talk over, explore, point at… and not to a way so that tradition does not point in our understanding. A while relate to the fear that all gestures, motives, make decisions, or even employ disappear and trend does not feel like it ago I had this fundamental experience: brushstrokes, or ways of making impre- a know-it-all approach , in our case has to save us from it, so to speak? I tried to work in an efficient and eco- ssions have been already discovered, and know-it-all about art. nomical way, that is to design packaging therefore it is primarily about finding I don't know if rules could be innova- with an ideal usage of a single sheet of a new way to combine them? In this respect Teaching as a discussion is truly an inte- ted. Maybe we can place new rules paper to die cut the design from, and I'm thinking—what does it mean to teach resting notion. It leads me directly to the next to the old ones. And let time and also to minimize the number of the art? second notion, already mentioned—tra- practice to sort them out. A rule is a subsequent operations, including the dition and trend. consequence of the process of gaining gluing of various sides because that We are not tabula rasa, that’s for sure, knowledge. And that is, I think, infinite makes the final product more expensive. also because we are not born as artists Maybe yes. At the end, the word tradi- (such knowledge). It is about balancing technical and but become artists, and in this process tion comes from Latin tradere, which technological requirements with eco- of “becoming” we naturally absorb the means to hand down. However, How does it relate to printmaking? Why nomical, and then, because it is about things surrounding us. I would like to acceptance of tradition is also impor- does printmaking attract you so much? design, also with aesthetical. To my point out the gerund form of the “becom- tant. Tradition is therefore something surprise I realized that although you ing,” as becoming of an artist is an (a sum of customs) that is passed down Printmaking is special because it is meet more less all the stated criteria, open, never ending process. It is what and at the same time accepted as such. printmaking. It cannot be replaced you may not create an ideal packaging. also connects us with art students. Without acceptance there is no handing with anything else. It is not painting, At one time I designed packaging—an Actually, we are all students, still. down. And that is how any tradition sculpture, nor photography. Yes, it is octagon. It looked beautiful, the sheet When we reach the age when we could end—if there is nobody to a space of its own, technical and mental, of paper was perfectly utilized, and propose the idea to become artists, we acknowledge it. In practice I do not which is subject to its own rules. The none of the tabs required gluing—the have already absorbed enough visual take it so literally but in any case time fact that one has to submit to them packaging was so called self-holding, it information and myriad experiences, plays a role in it. A longer time. Tradition (otherwise you risk that you will not be kept the shape just by applied tension and with our choosing art as a profes- means that we have to get used to “it,” able to even print anything) leads to of the folds. One could say a perfect sion they begin to grow exponentially. and it’s not so easy. A tradition in the your getting to know them. And once packaging. But it had twenty flaps and Despite that I am not completely con- sense of time most often gets ahead of you know them, you can start exploring in order for it to work it was instrumen- vinced that we have seen “everything.” us, accompanies us, and also survives them. Tradition is a space for our expe- tal to begin folding the box in certain I do not like this a priori statement of us (meaning it continues). Therefore, rience but also for our labouring. One point and direction and know which resignation. It is possible that it’s true we co-participate on tradition. Regard- could experience tradition actively. flap to overlap with which. I asked my but it does not mean we could be relie- ing trend, it could help to look closely That is in a creative way. twin sister to try to fold it. She did not ved of the duty to start each work with at Germanic languages, which define Contrary to painting I do not think manage. Actually, I myself couldn’t fold the belief that it has not been done yet, this word among others as ‘a circle’ or about colour in printmaking. It is about it, it took me a few minutes to remember that it will be totally awesome. And if it ‘to circle,’ ‘rotate,’ or ‘pivot.’ Only at the a more compressed message. Most fre- where I had to begin folding. I realized does not end up like that, it only end of the 19th century a new meaning quently I deal with elementary catego- that it was a nonsense. Or perhaps really increases our motivation to try again— emerged—‘tendency’ or ‘direction,’ and ries, such as rhythm, balance, tension, a brain teaser. An obsession with per- but next time it will definitely be it! later on, in the mid 20th century, the scale… and I do not bother with a visu- fection is not a good way to go… Since With every painting, every print I feel word trend gained the present-day mean- associated with disciplines that work not follow speed limits on roads. Perhaps ally busy realism as in painting. Once then I tested all packaging with my sis- like entering some place where nobody ing. And now how I see it visualized: with paper, for instance packaging in the name of one’s own personal free- I grab a brush, I start playing with an ter and it has been working well. They has been before. That is why for me I see tradition as a line, a ray with design. By doing so, I probably create dom. We do not follow rules in a particu- illusion of reality. I talk and talk… In have turned out perfect in other way— a process is to some extent (actually a beginning and no end in sight, and trend in printmaking. lar situation. That is in a situation when printmaking (fortunately) I do not have they respect the end user, not just the a lot) about solitude. I feel like I’m trend as a small, sometimes short, I could also think of a tradition being we overlook, ignore our “co-players” this urge. On the contrary, printmaking creator. And here we are back talking walking alone in deserted landscape sometimes longer meandering—sort of one of a few dialogues in art-making. because we cannot see them or we sim- forces me to simplify to a certain level. about the relationship between arts searching for “my” images… scribbles—around this ray, which how- Otherwise it is mostly a monologue… ply do not pay attention. We do not care That fascinates me. It is me and at the and crafts. Because all that also requires Learning art-making is a strange ever begin and end within our view. about them. We follow rules because we same time somebody else. Like a very to account for a person. If you do not thing. Art is, and maybe I am repeating I wonder if tradition could be based on Tradition is also based on following the do not want to be alone, or to say it in merciful schizophrenia. consider a person, it stops working, it myself, a very individual mental and trends. And if so, could it be by any rules, and a trend tends to go against a better way so that we could stay toge- I still feel to be primarily a painter. does not make any sense. Perfection de manual activity. While the manual part chance what we are experiencing that. Perhaps this is not directly connected, ther and understand each other. It is Because I have been “certified” in this facto denies and ignores a person. It is relates to craft and can be learned, the now… In other words, our need to be but one time I overheard a part of discu- a matter of understanding each other. discipline, I feel responsibility, respect, not a human thing. Machine can be mental portion is linked to one’s inter- ‘trendy’ is slowly becoming a tradition. ssion in which Pavel Kosatík participated. When I do not follow rules in printma- commitment… To return to what we perfect. nal apparatus, personality, way of thin- It depends on our point of view or our I can’t remember details but he talked king (for instance technical rules), it have already talked about, my craft We tend to be perfect in art as well. king, feeling, perception, and so on. It distance from the problem, how and about Central Europe and that after 1918 could lead to my misunderstanding with skills and experiences in painting are Back in school, Miloš Šejn once told me is so rare and exceptional as each one why it appears so. the region never got an opportunity to printmaking, for instance that a plate much deeper than in printmaking. Al- in regards to my work that it is a good unique person in the world. It is a sove- Should I relate it to my work in create its own system—thus the one we does not get etched or the etch gets though sometimes it feels like a burden. idea to think about the difference reign space of each of us. Should you printmaking, and because I did not live in now is vague, because it is missing degraded when the plate is left in acid I tend to delve into solving many tech- between conceptual art and a puzzle. want to teach this, you must put aside receive traditional printmaking educa- a structure. I wonder if it somehow for too long. A rule is a norm that has nicalities in painting. Today on a com- On the other hand, Bedřich Dlouhý part of your I, to allow space for others. tion, I probably not aware of this kind relates to the link between tradition and been tested. We can argue with it, pletely subconscious level, but still. noted to me that I incline towards So that you can perceive them, and of tradition (and traditions derived trend particularly in our context. which is a creative process, a process of Then there are the things my conscious- intellectual fabulation, but one way or a space for dialogue can be created. In from it). But in turn I bring into it (into one’s own self-exploration (often painful). ness won’t allow—for instance to paint another at the end it is a question of school, you could inspire. Yet you must printmaking) other tradition—tradition I would say that we live in times when But to ignore it a priori, that’s arrogance. canvas with latex or to paint on how comprehensible is our message. be careful not to teach “you,” your we tend to (still a trend but not a tradi- On a different topic—I recall how “ a box of a deliver laundry machine… I gathered that that is what I must style, but to “only” open the said space ↗) Martin Velíšek, tion) ignore rules. We smoke below a sign complex” the rules could be—I can think I feel much more free in printmaking. Little Armchair GELB, 2018, learn, among other things. where you can meet. For me, teaching oil on canvas, 170 × 100 cm + object, that bans smoking; some people do not of the Ampere’s rule of a right hand and At the same time, I am more hesitant is primarily a discussion, and the 71,5 × 39,5 × 2 cm use signal while driving a car; they do Fleming’s rule of a left hand in physics… exactly because of certain lack of expe- 34 35

rience. So, I substitute it with another published in an anthology for symposium spiral, infinite, crawfish-like, mirror-like, just say “aesthetics.” Considering your hurt it. The feeling of whether it is you do not have much to say, you can experience, experience with paper, Current State of Painting (Zdeněk Beran or even mirror-crawfish-like, were ability to work within all the said media, completed or not is based on that. It is speak any language yet you won’t something I am more proficient at. ed., 1994), that whoever makes a line on created. The so called enigmatic canons I would be interested knowing how much interesting that I can open that dialogue understand because there is nothing to canvas enters into the realm of thinking. were specialty, they required first tore - you can sense the tension between sometimes even after seven, ten years, listen to. Is it then still possible to speak of I have a feeling about your work—prints, solve the way they should be interpreted. a form you choose and what you commu- and once again, after such a long time, We are attracted to illusion. It printmaking as art on paper and with paintings, drawings, books, or pac- What is amusing is the fact that many of nicate. To be more specific, how do you I return to paintings I had considered appears like an ideal form of communi- paper? If I should go back to my own kaging—that they are all based on humour, them have not been resolved yet… know when to stop with “perforating” finished. cation. Even though it is a wrong sensory experience with the museum print collec- and that it is an exceptional humour in that the Struhadlo (Grater) (Note: The artist’s perception. Do we want to be disappoin- tion, I would say that definitely—a fine it is naturally a result of your explorations Maybe that is why they are so attractive... print Struhadlo, perforated intaglio, Do you think during this time about how ted then? Illusionist is a name for a magi- art print on paper is a highly collectible of technique, medium, or, simply said, In our region, a "thinking through image" 140 x 80 cm, received the 2019 Print of to “formulate” the painting so that it cian. He tricks our senses, but in such item. On one hand I could name a few material used for the works, which means is most thoroughly explored by Miroslav the Year award.) could be understood, or do you rely on a perfect way that in his way he creates reasons to argue against tradition (third from a matter. Also, humour must be Petříček who happens to be your friend. your intuition and experience? a different reality. It is a strange contra- dimension? new technique?), on the quickly recognized and understood! I know that you collaborated on the book The answer could be that I seek conne- diction. We want to believe this reality, other hand I praise it—because it proves I particularly enjoy your series about Pohledy (které tvoří obrazy) (Views (Which ctions between them (between the I do not think about it in any systema- yet we know it is not real. It is therefore that a two-dimensional image is still a cat named Lochneska. What does the Make Images) (2012), and I am also form and formal aspects). Aesthetics do tic and programmatic way. But it is perhaps an exciting tension between irreplaceable for human imagination. connection between “art and thinking” thinking of a text in which Petříček points not mean just formal aspects of things quite possible that we have within us what we can see and what we know. signify for you? at the significance of a mistake—which is for me. However, in reality it is not so embedded a sort of archetypes or latent We are built to know that in our real Paper is a thing that attracts me in a requirement for life. What do you find the simple or straightforward. Particularly "communication" tendencies. So, sub- world the two entity must be in balance. printmaking the most. It is a material I remember the symposium. Mr Knižák most attractive about him as a philosopher, when it comes to when to stop. In consciously we incline towards certain In the arts though, we do not have to of fabulous characteristics! I use it not concluded it saying that it was obvious and how has he influenced you? general, I respect artwork. What I form of communication, a specific or- know. It is a space that allows us to be only to print but also to make plates. that painting was over. As a then fifth- mean is that to certain extent I lead der. This tendency must be based on carried away with our senses, regardless For some years I made living as a pack- -year student of painting I felt like rais- I feel uneasy talking about a philosopher a dialogue with it and I confront the our experiences. I probably indeed rely of our knowing. aging designer. Every day a number of ing my hand to say that it was surpris- of Miroslav Petříček’s statue… He is, initial idea, or as it goes through the on experience and intuition. And how various papers went through my ing that we had not been told so in our first of all, an ordinary man. What I like process, with the current state, with to achieve “the order that isn’t just Martin, is printmaking something substan- hands. Every day I was in a print room, first year so that we would not had about Petříček is his way of actually what the “thing” asks for or what it mine or yours?” It is a paradox but I tially different than painting or installation cutting room, binding room. I was com- studied it since it actually did not make living the phenomenology. The way he says. It is neither mechanical nor would say, as Bedřich Dlouhý used to for you? After all, it is often talked about municating with people who knew eve- sense… for instance in this sense, phenomeno- formal matter. At some point I stop, sit encourage us to do, do not bother. Rely as a hybrid form, somewhere between rything about paper from technical logically, smokes cigarette, drinks down, and watch the thing that’s co- on being natural or having an internal letters and images. Is it even possible to point of view. It was the ideal school. A good example of humour with a palpa- coffee. What I want to say is one can ming to existence and I think again need to communicate. If you indeed take one of the areas of your work and I was also producing drawings for mat- ble impact... very naturally sense his very natural what I want to communicate through have something to say, you will be discuss it in isolation from the others? rices. You really need to know well the way of being settled in Husserl’s natural it. I revisit the feeling I had in the begin- understood because we all meet in a paper that is used to cut packaging. But I am not very happy about it... world. He is a example of what the ning of the whole process and I am common space of humanity (I would For me art is a continuum. I do not con- What it can and cannot handle. A second Personally I consider art as a mental notion that it is not possible to subtract trying to find out whether it is still there not want to sound arrogant, it is meant sider important the formal differences impulse for me came from having limited activity with manual expression. Art is the world from humans and humans or not, and what, or which next step to actually capture the elementary, ge- between drawing, painting, or printmak- funds as a student. When I was doing a way to communicate, convey. Com- from the world. Therefore, Petříček can would it benefit from and which would neral, and internal within ourselves). If ing. All that is being processed inside me printmaking at school, I did not have munication should be a result of think- see natural world also in painting. money for copper plates. So, I looked ing. If this did not apply for instance for A painting is not a qualified evidence for ways to replace it, find cheaper verbal communication, speaking would about the world, it is how the world material. Years went by and both be been a sequence of more less articu- appears to us. I actually do not even impulses merged. Today I know what lated sounds. Yet it is not the case. It is know other way to look at painting, so I can expect from a paper-matrix, and the thinking that makes it, among that it remains human, if not in a phe- I select the material accordingly. Then others, a means of understanding. A nomenological sense. Things appear in I simply explore its qualities. There is parallel in visual arts would most likely certain way. And constantly. A thing is always a a good chance that paper will be a thoughtless covering of surface not given as a whole— thus neither is show me an unexpected direction. Are with paint. Which on its own does not a painting; its entire meaning is never there limits for paper as a matrix? It is make art. What is needed is the mental revealed. We are not able to exhaust it. clear from its characteristics that such activity, which does not Because it is constantly revealing itself. matrix does not yield a large edition. always have to be a thinking. It is often It appears over and over again to me, I do not mind that. a sort of intuition, feeling, emotional and it appears over and over to every- And then there is another world of reaction. Brain sorts it all out anyway… body who encounters it. As long as art its own—the option to cut into paper, Thinking helps me paint (or do is linked to humans, it will be infinite into the print. I have talked about it printmaking) and art helps me “formu- in the sense of the said. Let’s say that a number of times already. So, I will be late.” he showed me, as a painter, the Husserl’s brief—for me the surface I cut into is One more thing about the humour. horizons where one thing refers to ano- equivalent to the printed one. I account It requires both—a certain level of think- ther and that thing refers to ano

for the cutting right from the beginning, ing and technical virtuosity. And I am ther, and another… Among others it ←) Martin Velíšek, before printing, when I am working on not talking just about myself. In this calmed me down and helped me accept Canapé Noir, 2016, the plate. Sometimes I resolve the part connection, I can think of the Renais- my crossing from painting to printmak- personalized intaglio technique, of the image to be cut before I think sance canon—a contrapuntal musical ing, from printmaking to drawing, from 24,5 × 30 cm about the printed part. piece. It bloomed with Franco-Flemish drawing to installation… composers in the 15th and 16th centu- Martin, you studied at the Academy of ries. The high level of composers’ In the beginning I mentioned the text by Fine Arts also with our beloved professor knowledge at the time allowed them to Dorota Folga-Januszewska and her notion Bedřich Dlouhý. He wrote in his essay, have fun. That’s how all those canons, of “pangraphism.” But one could possibly 36

at the same time, and sometimes one to each other—that they touch each viewer. And I do not feel like a hyper- thing is closer to the surface, other other on an imaginary circle of opportu- realistic painter. When I feel my paint- times the other one. I want to share nities. Would you agree? ing is getting close to be a perfect something, so I choose the form accord- illusion, I steer away. I always add ing to the current situation. When I I would probably not agree completely. something that tells the viewer that it want to express myself faster, I use dra- In my earlier years I would say yes. is a painting. Most often I take objects wing. When it needs more contrast and However, the idea is based on a two-di- from real space and place them into on a more elementary basis, I choose mensional world as well as on a sort of abstract (that is not completely real) printmaking. When I feel like telling (linear) order. Today I understand that space created with paints. It is rare stories, I grab brushes and paints. Simply realities appear in a three-dimensional that I employ spatial illusion. I explore speaking. It also works in a way that space in various layers, in all direc- working with colour paste, visible I’m trying to say the same thing in all tions, and we ourselves make an order traces of brushstroke, often leave some three media, and I just watch how each of them by how we view the world. So parts of painting intentionally unfi- of them asks for “its own” thing and today I do not see it as a circle… It is nished, etc. carries me away. But printmaking is more like a noodle ham bake; someti- really something totally different. You mes there is more ham on top, other One trend in contemporary philosophy of can see immediately what you have times pasta, and then there is still an art is “aesthetics of everyday life.” I can drawn and painted. At any moment you egg… Sometimes I do not know what think of a number of positive connotati- can see the positive image of it. Whereas I should bite into first. But it tastes ons, such as appreciating commonplace in printmaking you can work on a mat- good as a whole. I have difficulties trivialities or the return of art to human rix for hours, days, even weeks, yet it is making abstract painting. I simply can- spectrum. You have worked repeatedly not a positive image, and it is only your not feel it. I mean I could paint it but it with similar themes, such as in your experience that can direct you, whe- would be pure speculation. By contrast series “little chairs,” but there are others ther you are working in the right direc- it is difficult for me to create realistic too. tion or you are completely missing the images. I can almost feel resentment. point. The more experience you have, Oddly enough I can do both in drawing. Yes, this really interests me. I program- the more guarantee you have that it is matically address everyday “little the right direction. Nevertheless, only Going one more time back to Dlouhý and things.” It is hard to say whether we do after you print the matrix you can get Petríček, what is your relationship to not dare to address big themes or we your final answer. I would revisit the space? I feel like your paintings have look down on them. Or, whether we thoughts about craft—you cannot do quite a strong tendency to “leave,” to feel that they are included within the without it in printmaking, more than in become three-dimensional and enter the small themes. Goethe said: “What is a any other medium. Printmaking is context of everyday life. person in little things, that is who he is But it is also a principle of natural based on its own technological rules. in big ones.” I’m intrigued by the idea world, nature, macro- and microbiology There is alchemy and mystery. The I feel the same way. My images are of dichotomy or ambivalence. In gene- and botany, as well as astronomy, biggest mystery is revealed at the very inspired by everyday life. Let’s say by ral. Their relationship with humans. INTROITUS mathematics, and physics. Even in end when you pull paper off the matrix reality. And I find it natural that they We are here together yet at the same times of relativity, virtual worlds, and and right away you can see whether it tend to return to it, that they “run time each of us individually. I am inte- adventurous photographs of black BARBORA KUNDRAČÍKOVÁ, LENKA FALUŠIOVÁ, EVA VÁPENKOVÁ, ALENA VRŠANSKÁ worked out or not. What fascinates me away.” What interests me is the dialogue rested in ugly things, until they are holes. Resemblance is a key to one’s is this level of uncertainty during the between illusion and reality, yet they pretty, merry; until it hurts; little ones, understanding of oneself and others, entire process and then, in a matter of both carry the same weight for me. until they are big… and of course vice Landscape is a phenomenon reaching beyond everyone the living and non-living, also of the seconds, you get the answer. I see it as This is painting of a real object and this versa. Or for instance a chatty silence… and everything. It appears contextual even in a situation world that surrounds us—and which we a parallel to life. You invest your energy is a real object. Dialogue is a creative call a landscape. Yet resembling assumes into something to find out the results principle. I do not view it as a competi- Which takes me to my last question—if when it becomes an entity in its own right, a hero of existence of other subject just as text only after some time. tion. It is not about subordination of art becomes an everyday matter, will it its own story. The works of Lenka Falušiová, Eva cannot be without context and neither I would like to go back again to the one to the other or a state of imperfec- lose its meaning? Vápenková, and Alena Vršanská are testaments to the of them without an external observer. communication and whether it is possi- tion of one over the other. It is not my Resemblance demands to be seen and ble to keep art disciplines separated. In intention to compare them, I simply I do not think it could happen. Art can- fact that there are myriad such stories and other and as such recognized, text demands to be certain way, a message is not composed place them next to each other. Together, not become nothing on its own. It is new could be always told. At the end, the proverb read and as such understood. To say only by one painting or print but by they create new reality. Not because about people. People give meaning to that something is text and context at artist’s continuous work. When you they compete but because they meet. art. And then, it is not only a question “you cannot step twice into the same river” is not much the same time then means to appeal to place the works next to each other, In this state of equality, they are both of what is offered to me but what I cho- about a transformation of running river water as it is a resemblance of a higher order, to regardless how different they appear, equally real. Because they are both ose and how I see it. Art will probably about the change of a person who steps in it. a coexistence of a whole and a part; there should be heard one single word objects. Object—painting, and Object— never head in one direction, for instan- it means to call not for final execution or sentence that belongs to all of them chair. It is a relationship between ce towards becoming a matter of the One question I can think of is implied right but for a process—for a transition at the same time. And it should relate thinking and seeing. Or even better, everyday. That is exactly the phenome- in the first sentence: could anything be a text between shades of gray, between “not to the content or internal character. a dialogue between thinking and seeing. nological approach; art appears con- yet” and “not anymore.” If, in the sense of seeing, painting could stantly but it cannot appear in its entire- and context at the same time? To translate it into printmaking and Aside from other things I keep being compete with an object and vice versa, ty. It cannot stop appearing in horizons. relate it to the context of a landscape, fascinated by the tension between your then in the sense of thinking they are I cannot stop referring to various con- From marketing point of view, one not get lost in translation, it evokes resemblance seems like the very essence strong realistic (but imaginative) position equal. I do not require painting to be texts. Something so highly personal could easily state that “resemblance” is emotions, tension, and joy. Resemblance of creativity, maybe even the being itself. and your tendency towards total minima- interchangeable with reality. I want it will not turn into a general banality. It a golden vein that cannot be much is the essence of a family (Wittgenstein), lism. Michal Ožibko argues that realism to be painting in its full extent. would mean that knowledge, including exploited. It is a simple concept, func- faith (Collingwood), cultural knowledge ↑) Lenka Falušiová, Silent Presence, 2020, and abstraction are naturally very close It is not my intention to mystify the sensorial, is finite. But it is not… tional, it can be easily shared, it does (Goodmann), and politics (Rancière). ink on canvas, 155 × 110 cm 38 39

LENKA FALUŠIOVÁ ALENA VRŠANSKÁ

The forest scenery is full of structures, I am interested in a landscape without ←) Alena Vršanská, tensions of order and chaos – such is a horizon, without a beginning or end. Mangerton, 2019, ink on plastic foil, for me the inspiration by the landscape I am enchanted by landscape structures 222 × 105 cm I come from, the Jeseníky Mountains. It and the rhythm of the earth's surface.

is a melancholic, mysterious and quiet The image of the landscape changes landscape. For me, the silence is emo- mainly by what the artist is looking for tional and incomprehensible; the touch in the landscape. That's why my draw- of the silence is one of the main mo- ings change according to what is im- ments of my paintings. The visible is portant to me. Walking through and created by the manifestation of the experiencing a place is essential for invisible, the impenetrable forest is full me. It gives me the opportunity to get of darkness, in which the details of the to know the landscape better and then branches emerge from darkness to process and "transform" it in the peace light. I began to perceive the inner of my home. chaos that the forest evokes as an order Just as the landscape consists of only thanks to frequent wanderings in various small parts, so my drawings it, thanks to detailed observation. consist of small strokes. Landscape – Almost as if I were acquiring a kind of and the drawing does not have to have inner vision, as if I received the secret a beginning, end or horizon. But even key to understanding. If the darkness is so, it should not lose contact with the calm, the brightness moves – that's real form of the landscape. That is why actually the name of one of my prints. I base my work on a real landscape and For me, the shape of the matter is an my experience with it. imprint of the memory and the feeling that is associated with it. In the solitu- Alena Vršanská (b. 1990 Pardubice) de of the landscape, I learn to see shar- Draftsman and printmaker. Alena graduated from the ply into the distance, to resonate with Faculty of Pedagogy at the Palacky University Olomouc the pulse of nature and to breathe in its (2010–2013) and the Printmaking Studio (headed by Jiří rhythm. The more time I devote to Lindovský, Dalibor Smutný) at the Academy of Fine Arts these forest motifs, the more of the place in Prague (2013–2019). In 2017 she received the Print of and its time also penetrates them. I am the Year Award in serigraphy. Her works have been fascinated by the tension between the exhibited in the Czech Republic in solo (e.g., 2016 Prague, genius loci and the imago loci. I find 2020 Šumperk) and group exhibitions (such as 2014 ↓) Alena Vršanská, Old Kenmare Road, 2019, them in things, in stones, in trees, in Vrchlabí, 2015 Prague, 2018 Olomouc, 2018 Pardubice, ink on plastic foil, 105 × 433 cm every living organism. It is necessary 2019 Prague). ↓) Alena Vršanská, to perceive their space of existence. To Gap of Dunloe, 2019, tune in to the power of silence, to the ink on plastic foil, 105 × 410 cm necessary inner peace. At such a moment, I feel that everything is in- terconnected and that I am part of the whole.

Lenka Falušiová (b. 1988 Vrbno pod Pradědem) Draftsman and printmaker. She graduated from the Printmaking Studio (headed by Jiří Lindovský, Dalibor Smutný) at the Academy of Fine Arts in Prague (2012–2017). In 2015 she received the Print of the Year Award in student works. Her artworks have been exhibited in the Czech Republic both in solo (such as The mutual mirroring begins with the server. After all, an imprint is 2014 Liberec, 2015 Šumperk, 2016 Terezín, 2019 Prague, first drop of sweat, first impression of a manifestation of the highest intimacy— 2020 Příbram) and group exhibitions (such as 2014 a plate, and ends with the need of hu- when two strange entities merge, each Vrchlabí, 2017 Klatovy-Klenová, 2018 Vevey, 2019 man eye to seek connections, find (crea- of them giving itself to the other uncon- Bilbao, 2019 Berlin). te) and decode formulas. Humans are ditionally; but also of a total reflected in landscape, they identify negation of their independence. In themselves with it, while landscape qui- a print, text becomes context—yet if we etly observes their maturing and survi- are lucky, it could remain also as a text. ves their decline. Eva, Lenka, and Alena’s And that is the case, at least in my ↖) Lenka Falušiová, Skály II., 2019, works share a subtlety of experience, opinion, of the said artists’ works. line etching, 18 × 15 cm fragility of a feeling or personal impre- I would probably also mention the works ↖) Lenka Falušiová, ssion, as well as brutality of an objective of Šimon Brejcha and Ondřej Přibyl. Structures, 2019, world which does not include an ob- line etching, 25 × 20 cm 40 41

EVA VÁPENKOVÁ

In my work, I proceed from capturing the real landscape, through gradually remo- ving unnecessary impurities by refining the image. This has nothing to do with abstraction, which dematerializes the subject, but much more with distillation. The principle of creation is to reach the essence of the subject by removing the excess. In terms of content, my work is related to a particular way of thinking – to the realization of emptiness. I perceive emptiness in the context of Eastern philo- sophy, as a process of gradual elimination of everything unnecessary and irrelevant. The images are often created from an approximate obscure shape, largely unin- tentionally. After this, the processes of addition, extraction, and delimitation follow. It is the pursue of the basic princi- ples of creating space, shape and matter, and "wrapping it with the landscape". The resulting image is affected by the clean area inside and outside of the matrix im- pression. During the "sketching" in the metal sheet, I think about the size of the Interview with Miloš Michálek paper that will carry the image. When the space around it is not enough, I perceive the image as closed, completed. However, EVERY DAY – ONE incompleteness and the sense of unfi- nished landscape is much more in tune with me. I imagine the individual images NEW PRINT emerging from the white surface and sin- king into it again. They form a sequence ONDŘEJ MICHÁLEK, PETRA MAZÁČOVÁ ↑) Eva Vápenková, of ever-changing moments. A blank sheet Finis Terrae V, 2014, of paper indicates the fullness of the open etching, aquatint, paper, 17,5 × 25 cm Miloš Michálek (1949) has devoted his entire professional life to pedagogical space in which all the images are con- ↑) Eva Vápenková, tained. I think that empty space can be Margo I, 2014, activities. As a patriot of Ústí nad Labem, he worked for many years at the Faculty of perceived, similarly to music, in the tensi- aquatint, paper, 15 × 25 cm Education at the Jan Evangelista Purkyně University in Ústí nad Labem. He currently on of two masses. Precisely constructed ↓) Eva Vápenková, shapes depicting pure emotions. Monoto- Muxia I, 2015, teaches graphic techniques at the Faculty of Art and Design of the University. (…) etching, paper, 34,9 × 50 cm ny and constant repetition represent an With the Záznamy [Records] Project (2017), the artist returned to the concept unchanging order. I see such an order in of his ten-year-old time-lapse documentary. He created a graphic print measuring a horizon that, by its very nature, is des- tined to give the impression of infinity as 17.6 × 12.5 cm every day for one year, regardless of whether he was on the road well as of infinite repetition. The horizon or not. Long-term projects constitute a large part of the artist's graphic and is the visible boundary separating the space I am able to control over the photographic work. While in photographic cycles, he records gradual and elusive emptiness, although it is actually uncontrollable changes in the surrounding environment, in one-day graphic part of it. recordings he exercises his artistic imagination to resist the routine of everyday

Eva Vápenková (b. 1979 Praha) life, and to influence the aesthetics of the final recording. (Petra Mazáčová)* Draftsman and printmaker. Eva graduated from the Department of Art History at the Faculty of Philosophy, At first glance, it may seem that assigning working with them every day. It wasn't Of course, I expected a crisis all year, Charles University in Prague (2003–2009); the Studio a daily work in our field can be counter- a job for me, it was a joy of creation but it never came. My wife supported of Restoration (headed by Karel Stretti) and Printmaking productive. One may not be inspired or that remained with me until today. No me all the way. I think I set myself on Studio (headed by Jiří Lindovský) at the Academy of Fine urged to make art every day ... How was day, no night without making a print! black night and white day rhythm so Arts in Prague (2009–2015). In 2014 she received a student it with this project? that I couldn’t become too tired or ill. scholarship to prepare a publication dedicated to Ladislav When was it hardest to keep to that pre- Čepelák, and in 2016 an award of the Hollar Foundation. Her From the past, I have had several almost determined work rhythm? When did your Was the whole series created with the works have been presented in the Czech Republic in solo ready potential matrices that I have determination become a ball and chain on intention of displaying one sheet next to (2017 Hranice, 2019 Kolín, 2019 Šumperk) and group exhibi- found and collected for the beginning your leg, or has that never occurred? another, i.e. with the knowledge of how tions (2014 Vrchlabí, 2015, 2019 Prague, 2018 Pardubice). of the project. I was looking forward to the sheets will work side by side? Or was 43

it just a matter of submitting to a given task and completing it?

I did not place the sheets next to each other, nor did I calculate with it. For the first time, I presented the series of prints on July 10, 2017 (Day 191) to curator Petra Mazáčová to introduce her to what I would like to exhibit in the autumn in the Roudnice Gallery.

What is your own evaluation of the project, and how has it enriched you?

I exhibited part of the project in the Gallery of Modern Art in Roudnice nad Labem (21 September – 19 November 2017) while continuously (5 times) adding new sheets created in the previous days. Whoever came to the exhibition on the last 323rd day saw the set with prints still ‘wet’. The entire cycle was exhibited at GASK in Kutná Hora, where I, together with Vendula Fremlová the author of the text, and Richard Drury the curator of the exhibition, launched the publica- tion entitled Černá noc bílý den [Black Night White Day] ‘baptising’ it with the water from the Elbe (imported from Ústí and Labem). To avoid ‘withdrawal’, the following year (2018) I printed one-time larger format once a week and increased the number of copies from two to four prints. Graphics with a weekly interval could thus be realised in colour. I saw 52 sheets (Týdeník 18) side by side only during the installation of the Kutná Hora exhibition Vyryto do paměti [En- graved in Memory] (7 April – 9 June 2019). In 2019, I created a cycle entitled Dvanáct [Twelve], making prints in a monthly interval format, and increased the number of prints to eight. During sponding number of copies (16). * Petra Mazáčová the exhibition of the cycle in Kutná Printmaking have become an integral Excerpt from the text in the catalogue published by the Hora, I added a new month. This year part of my life. At my age, to me it was Gallery of Modern Art in Roudnice nad Labem. (2020), I will close the whole project daily manual activity (printing), but with one annual graphic sheet printed mainly a constantly stressed brain. ↑) Miloš Michálek, Samples from the book Black Night White Day, on an enlarged format and with a corre- Just perfect! 2018, UJEP, Ústí nad Labem

44 45

A Review of Šimon Brejcha's exhibitions in the Václav Špála Gallery al ornament of stems, branches, flowers organisms that survive them as long as and fruits – was not enough to perceive they live, year after year a human being beauty. Methods of plant cultivation goes on struggling to survive. They (regardless of the related breeding project their vision of order into it. ŠIMON BREJCHA: area, grading up of animal breeds) leads The word garden carries with it to the realisation of similar human-to- a perception of boundaries, the cros- -human treatment. The ideal of trans- sing of which can be fatal for uninvited GARDENING forming weaker entities by stronger guests. Crowded clusters of various ones, to one’s own image. Evolution developmental forms of insects can LENKA KAHUDA KLOKOČKOVÁ accelerated by humans. The garden is resemble an image of the current therefore a place where people can live situation of humanity, overcrowded With his collection of present works from the Gardening up to their intentions while they are territories, planets, invasions, expan- exhibition, Šimon Brejcha has prepared for visitors an still alive. The titles of Brejcha's works sions, exodus, being filled to capacity, ingenious play. Those who accept its rules can achieve (e.g. bending, tying, etc.) refer to domi- which can no longer be extended by nation, submission, and thus lead to another space. Unlike humans, organ- a certain kind of enlightenment and respect, through the idea that these innate human isms can move freely through the pictorial and textual clues leading to associations, and passions are better off practiced on landscape. The higher power of the plants and vermin in one's own garden imaginary gardener is the enormous at the same time marvel at the precise pictorial rather than in a human community. power of the natural elements and execution, succumb to the sublime and absorb death for humankind, which fortunately a strong aesthetic experience. A MULTIPLICATION THAT WORKS cannot be controlled by people, even though they have never stopped striving The plant ornament, which should to gain this unattainable control over soothe the mind according to the ancient unexpected phenomena. practices and experiences of human The peaceful archetype of the culture, is rather unnerving in connec- medieval symbol of the hortus conclu- tion with the title of the work. After sus – the enclosed garden – becomes at a closer look at the repetitive fragments this moment a dynamic graphic scheme of the image, the viewer encounters interpreting the human life cycle. The problematic places. Where he would refinement, realisation of one's own expect the same, suddenly there is ideas and the overall tone of the com- a change that can be frustrating. The position, i.e. also the atmosphere of the effect can be compared to the rhythm garden, are comparable to the care of of repetitive offsets of poles along rail one's own life. What is the essence tracks, as seen by a passenger from the of myself, what is the impression we window of a moving train. Out of the make in society, recognizing the signifi- blue, two poles would be closer toge- cance of the effort expended, realising ther, that is, further away from the the temporary traces of lifelong work, next, or they would be missing altoge- which are immediately overlapped by ther. The recorded error or a moment layers of traces of others. The struggle of surprise will cause concern. The feel- with nature in the garden is similar to ing of the reality of a world in which the struggle with oneself. Scales of ex- PURITY, MINIMALISM, DETAIL preserved integrity of unprinted sur- the desired regular repetition does not istential dilemmas placed on top of each faces of the paper. The structures of take place will return. other can greatly crush an individual at Immediately after entering the hall on prints and matrices tempt us to touch certain stages of life. However, feelings the ground floor, it is obvious that the them. Feeling the works with the eyes WORKING IN THE GARDEN WITH THE of imperfection, frustration and futility author has carefully and systematically and the idea of a haptic experience can AWARENESS OF BEING MORTALITY can, over time, lead to exaltation, libe- prepared the exhibition for this parti- be felt in the fingertips. ration through acceptance and humility. cular gallery. There is enough space, At first glance, the installation that The theme of gardens of breeding or, It is then possible to approach nature time and soft light for the viewer to is minimalist and airy hides under its when the name is divided, ‘gardens of and its laws with such humility. No lon- potentially resonate with the exhibit. surface the weight of reality. A delicate, destruction’ represents the limits and ger enjoying ownership, but observation. They can enter the exhibited works innocent-looking detail of stitched compromises of a human being and the from the immediate vicinity, without graphics with red thread suggests natural processes themselves. In their glasses, to view the fineness of the tying of twigs. Even in its fragility and designated space, on a sample of their ↑) Installation in Špála Gallery 1st floor (© Marcel Rozhoň) from right: layers of printed mulberry silk paper insignificance, it evokes an awareness own land extracted from the wildness of Uncut Grass (We Are Hidden in the Grass), 2018–2019 applied by the chine-collé technique on of violent human gestures, not only in natural processes, aware of their own collagraph on 350 g/m2 Hahnemühle paper pasted canvases. The monumentality of the terms of the often cruel aestheticization finiteness and the clear victory of the on canvas, diptych, each 125 × 200 cm paintings is not only made by their of plants in order to achieve an ephe- unstoppable growth and regeneration of ←) Stones Between Fences, 2018, generous dimensions and suitable loca- meral human experience of beauty, or chine-collé and artist’s intaglio on 120 g/m2 Washi mulberry paper pasted on canvas tion, but above all by the refined com- to use them for harvesting. This context 150 × 210 cm positions, the insertion of dark and reminds me of stones hanging from ↖) New Banners 2019, chine-collé and artist’s intaglio on120 g/m2, ↙) Black Rain, 2017, light places of the prints into the format. apple trees, cutting tree branches, graf- Washi mulberry paper pasted on canvas, collagraph on 350 g/m2 , The mastery of Brejcha's specific ting, the principle of bonsai. As if the 150 × 300 cm (detail) Hahnemühle paper, pasted on canvas, 120 × 200 cm graphic technique is underlined by the natural fractal itself – a three-dimension- 47

↑) Green Wall, 2018, artist’s intaglio on 350 g/m2 Hahnemühle paper pasted on canvas, 125 × 200 cm

An Interview with Šimon Brejcha into a distinctive graphic technique, I made the first castings of structures on my intention whether I press in the but has also conceptualised it, that is, and later also blind embossing, but found material directly or its casting. DRAWING BY PRINT he has made it a starting point, a crea- they were not primarily intended for This method is similar to the one of tive search strategy and a reference to printing, although even then I tried to Auer, which I discovered thanks to you. the credibility of his (aesthetic and do so for various reasons and imple- If I do blind embossing on cardboard ONDŘEJ MICHÁLEK technical) findings. In his view, it is not mented a few graphic cycles. using epoxy casting and not directly a demonstration of nature, however Purposefully and systematically, from natural products, I can very quickly brilliantly executed, but a demonstration I started using graphic techniques after and easily create a matrix with count- Šimon Brejcha is one of the graphic artists who base of how fragments of nature speak to us a scholarship in graphic workshops in less identical elements. It is this proce- their work on the simple materiality of expressive when transferred to art, where they Dresden in 2001, and even more inten- dure of reproducing the element that to means, and this aspect becomes the subject of his become a means of original drawing. sively after my exhibition in the Nová me is the most interesting procedure in The method of matrix preparation and Síň Gallery (Skin so Soft) in Prague in creating a printing matrix. I can create graphic prints to a large extent, both directly and graphic thinking allows the author to 2005. a matrix with fifty identical dragonflies indirectly. It is a process where the technology itself move completely freely in the field of In my work, I currently use mainly relatively easily, and when I print this topics, their primarily visual, sometimes two printing principles, which I have matrix only ten times on one large for- opens up a space for the artist to express himself conceptual solutions, paraphrases been refining for years, and I am still mat, I get a graphic sheet on which while at the same time it offers new content. of natural processes on the principle of surprised by their new possibilities. a swarm of 500 dragonflies floats, and concentrated cumulative compositions, I combine both techniques, they often yet every detail draws well when up Looking back, Šimon's method of crea- differently thick parts of the natural or on the contrary to enter the thin but complement and overlap each other. close. When I step further from the ting a matrix is similar to the technique preparation leave a graded relief in the liberating ice of minimalism. I would characterise the first one as image and look at the print, the that its author, Viennese graphic artist soft metal, in which different amounts However, let us leave this framework a specific form of structural graphics. microscopic detail of the veining of the and printer Alois Auer (1813-1869) of colour adhere, and the finest details of consideration to theorists or curators, The applied procedure allows me to wings and the basal shape of the body called Naturselbstdruck (patented in of the plant structure are "evoked" by and let us focus on Brejcha's technique, process the starting material in its and wings is lost at that moment, and 1852). It is a remarkably simple proce- printing. The image is sometimes remi- which, fortunately, he does not keep original form in which it was found. the illusions of movement and depth of dure that allows you to create a perfect niscent of an X-ray, where we can see secret, and therefore did not mind I do not redraw it, but I scan its relief, the image prevail. I enjoy this change botanical and zoological illustrations. the detailed course of the fibers of leaves sharing it with Grapheion readers. which makes it basically physically in perception. It would be difficult to Auer's intaglio prints not only offered or flowers, or the content hidden in present in the graphic sheets. It is achieve this with other art medium silhouettes of depicted plants or seeds, pods. From 1855 to 1873, narrative Since when do you practice this technique called index / index viewing (displaying). than graphic art. but also provided accurate images of botanical atlases were printed using and what is the principle of it? I cast the found element into Lukopren the structure of flowers, leaves, roots, this technique in Vienna and later in (liquid silicone rubber), thus obtaining It often happens that the printing tech- or even small animals, without the Prague. I must delve really deep into the past the initial negative casting. The mold is nique itself tells the author how to develop artist's hand signing the result. This is From another technological point of of my artistic endeavours. The roots of subsequently used for multiple positive further their work and offers them a new a method with the somewhat misleading view, it is the principle of stereotyping, the techniques I use can be found castings into epoxy resin. Thus, I get field of thought. How was it in your case? name "natural printing" (in English: which is used when it is not appropriate somewhere there. In this way, I also the basis of the printing matrix, which Nature printing or more precisely or advantageous to print directly from realise in retrospect that I have always has the form of a fine, raised relief. The The liquid silicone rubber that I use is Nature-printed plant engravings), the original, e.g. from manual or machi- been fascinated by the shapes and carrier of these castings is either thick a bit expensive, and not very ecological. which, however, is not direct printing ne typesetting. First, a 3D impression is mainly structures I found, mostly of cardboard or a wooden or hardboard That is why I started experimenting from natural products, because the created from its relief by mechanical natural origin, and so I was searching sheet. The durability of the matrix is with the use of the so-called Mäsra plate. printing matrix is, for example, plant pressure into the material, which then for a way to use them in the image. great, it can withstand between 50 and It is actually a mixture of glue and float ↑) Screen shots from the short filmThorns, leaves, i.e. the process to which Auer's serves as a mold for casting with recycla- Sometimes directly, sometimes they 100 prints. chalk. (It was originally intended as Kristina Kůlová_ FAMU 2020 predecessors resorted centuries earlier. ble fusible metal. However, even this became just an inspiration for the In the second method, I use the prin- a substitute for woodcut matrices.) ↗) Binding I–VIII, 2018–2019 The basis of Auer's technique is printing process is a thing of the past. future image. For example, in the early ciple of pressing the relief of the material Thanks to the stability of the negative artist's intaglio on 120 g/m2 Washi mulberry a lead plate, into which a dried plant is Šimon Brejcha has not only trans- 1990s, I poured beeswax on natural into a thick cardboard. This creates casting, I can use it directly for print- paper pasted on canvas 70 × 45 cm and 70 x 50 cm, diptych (detail) imprinted under high pressure. The formed the principle described above products glued to canvas. At that time, a negative, carved relief. And it depends ing. I keep refining the procedure and 48 ←) Oldřich Hamera, 49 Untitled, 1980, active etching, 27 × 19 cm

↓) Oldřich Hamera, recipe and discovering other possibilities Ukřižování [Crucifixion], 1972, that are truly compelling. The quality monotype, 44 × 37,7 cm

of the matrix is affected by many varia- bles, but they can be controlled. Recently, I have come across matrices two meters high. The best part is that it is almost organic production. Basically, almost no chemistry involved. And that is something I have been quite interested in lately, too. In addition, this procedure liberates me because it allows me to use other materials that I have not been able to process yet. But I'm still fascinated by the possibi- lity of reproducing individual elements in the printing area. I have realised that this feature of graphics takes on a completely different meaning when looked at from different perspective. It is not a mere multiplication of the image, any copier can do that, but it is the use of multiple prints to obtain a new expression that fascinates me. Layering, overlapping, multiplication, densification, transparency, these are suddenly concepts referring to the formal properties of images that can be explored by graphics. During the preparation of the last exhibitions (in the Smetana Q, Špálovka ↑) Choirs of Angels I – XVIII, 2019, and Hollar galleries), when thinking collagraph with drawing on Fabriano paper 220 g/m2 80 × 80 cm, about the way to display my work I also set of 18 works (Angel No.9) came across new ways of adjusting and →) Choirs of Angels I – XVIII, 2019, presenting it. What I mean in particular: collagraph with drawing on Fabriano A graphic sheet is basically a piece of paper 220 g/m2 80 × 80 cm, set of 18 works paper. You can either present it by atta- (Angel No. 16) ching it directly to the wall (why not?), putting it in a frame or a cassette we usually find it in an ambivalent concept. came across in the Renaissance, Baroque A Review of the Monograph on Oldřich Hamera by Eva Čapková under the glass (that's nice, aesthetic, I suspect that your creative starting point period... there probably weren't many of but you lose contact with the paper is similar, although I can't help the impres- them. But our world is flooded with mentary. Although the mentioned image – and when using mulberry silk paper, sion that somewhere in the background images. Mostly virtual. That's why I try is true in the core, it represents only it's a bit of a waste), or you can try to of your work there is above all an admi- to work with haptically interesting mate- I LIKE THE SMELL one, albeit fundamental aspect of the paste the graphic sheet on the canvas ration for everything that was created rial, moreover mostly in a 1: 1 size, with artist's personality, which is in fact and present it as a classic image. I have without human intervention. Certain material with which I can formulate my much richer and more complex. Oldřich done that. I found that I could enlarge sense of renunciation of your authorship… personal experience, which has symbolic OF STONES Hamera's monograph by Eva Čapková is the area of the image to the extent that potential or contains history or a story… an attempt to correct this one-sided JIŘÍ BERNARD KRTIČKA had been forbidden to me until then, Oh no. I would not like to renounce my Nothing virtual. Being able to touch and view and to present the artist's work and that I could freely place the pasted authorship of my work. I'm really proud reshape things is important to me. But I as a cut gem, reflecting the light of the prints next to each other and compose of some things, because I know what is realise that such a way of working crea- A monographic study of Oldřich Hamera written by Eva world with many different facets. and combine them freely. In these behind the seemingly simple form, the tes certain limits for the morphology of works, graphics and print become kind amount of time, contemplation and expe- my graphics. That's why I also draw. For Čapková, published by Arbor vitae in 2019, presents The reader will find confirmation of the of building blocks for building a new rimentation. My main input is in that many, it will probably be surprising that an artist who likes the smell of stones, a lover of the legend in one of the introductory image, which has little in common with I bring to light the things I find, and these are all draw-ings with people and underground world, an unmistakable graphic artist and chapters of the book, entitled I Like the the original matrix. Lately, I've even I look for a way to print them. But I admit about people, no branches or vermin. Smell of Stones, which describes the been getting out of the area of the to the admiration of the found. It is an Maybe these two positions of my work painter, a ‘secretly famous’ pupil and continuator artist's inner relationship to minerals, graphic and into space. Those who like endless source of inspira-tion. However, will connect somewhere. I'm curious. We of Vladimír Boudník. whose drawings, colours and shapes technological purism may feel uneasy my admiration is often directed at what will see. have stimulated his imagination and about this method but to me it presents man has created! And sometimes it evoked emotional vibrations since child- other possibilities of graphics. This is takes my breath away, what a beauty! At The image of Oldřich Hamera as a pecu- and fossils he has descended into the hood. As Oldřich Hamera himself admits, my creative level now and I'm curious the same time, however, I also have the liar solitaire still prevails, who, unlike underworld as a mythical hero not to he learned to recognise stones not only how it will develop. feeling that the function of the image has his peers from the artistic underground, emerge from there again. With this, by sight and touch, but also by smell: taken a completely different position did not go underground only metaphori- a vague legend and ‘secret glory’ of him Sulphides smell like sulphur, and I can The relationship between natural and compared to previous cen-turies. Just cally, but in the literal sense of the word: was born, although the knowledge of smell water in haloids. In igneous rocks, artificial is a permanent theme in art, and consider how many images a person enchanted by the beauty of minerals his work remains only vague and frag- such as granite, I smell the blacksmith's 50 51

hearth. Perhaps even gunpowder, a specific way of artistic expression – developed his work to the full thematic printer of the samizdat edition Explo- philosophy of Roger Caillois, which considered a mere fashionable artistic perhaps from the tension, from the informal abstraction. breadth and devoted himself to it even sionalismus, following on the eponymous I consider to be an absolutely essential trend, nor a pure record of subjective secret energy of the earth material, that Eva Čapková divided Oldřich Hame- at a time when, due to life circumstan- typewritten edition of Vladimír Boudník factor. In the 1960s, theorists were emotions. In Generalised Aesthetics, is tense like a rope. The ideas evoked by ra's work into three periods: the early ces, he had to give up graphic work for from the early 1950s. The renewed edi- dominated by a psychological interpre- Hamera found not only a philosophic- sensory experiences were more impor- phase until 1968, the period 1968–1989 a while. He responded to the occupation tion began its activity in 1974 with the tation of informal art, according to ally grounded rationale for Boudník's tant for the artist's work than his and the period from 1989 to the present. of Czechoslovakia with a monotype publication of the collection of Boudník's which informal abstraction is an ideas, but also a theoretical reflection extensive knowledge of geology, minera- Three basic lines of the work pass cycle entitled Pavouci zachvátili svět decals, drawings and texts of Corpus expression of the artist's inner self, his on the beloved world of minerals and logy or palaeontology, which had been through three periods, determined by [Spiders Plagued the World]. During the delicti, and its most important titles emotions, anxiety and desires. In oppo- rocks. It is therefore not surprising that accumulated for years, because as he the trinity of the main art techniques: years of normalisation, the cycles of include Intimní deník [The Intimate sition to this, Caillois in his Generalised Oldřich Hamera was the only artist in adds: imagination has always taken active graphics, structural graphics and Vynálezci [Inventors], Lunární stroje Diary] of Karel Hynek Mácha and Cholu- Aesthetics placed emphasis on ‘raw our country who read Cailloise with precedence over the hair-splitting and monotype. The author characterises [Lunar Machines] or Řád hlístů plochých pický den by Ladislav Klíma. In addition and self-grown’ beauty, based on an full understanding of his work. most precise professional knowledge. and presents each period and thematic [The Order of Flatworms] were created, to his activities connected with his own analogy with spontaneously emerging area with a commentary on selected the common denominator of which is edition, Explosionalismus, Hamera also natural structures. Caillois's approach The starting point of Oldřich Hamera's works. (It is a pity that in the section subtle intellectual humour. It goes collaborated as a graphic designer and to informal art is thus aesthetic and artistic career was undoubtedly the with reproductions that follows each without saying that in countless mono- printer with other samizdat publishers, represents a full-fledged alternative to meeting with Vladimír Boudník in types Hamera also dealt with his especially with Václav Kadlec (Prague psychological interpretation. 1964, when both of the artists lifelong theme – the underground Imagination) and Vladislav Zadrobílek. Boudník's work created an extremely were employed in the ČKD concern world – and its iconic motif – the After 1989, his most important activity strong resonance in the former Czecho- (one of the largest engineering trilobite. The monumental work in the field of book culture is the coope- slovakia in the first half of the 1960s. companies in the former Czecho- is the cycle of abstract monotypical ration with the publishing house Of the several dozen followers, slovakia – a translator’s note). landscapes entitled Máj [May], Ve stráni of the Krupeks, for which he however, the vast majority left informal Befriending Boudník ‘opened up’ created over four decades since illustrated the bibliophilic editions of art before the end of the 1960s. The the sky for the then twenty-year- the mid-1980s and combining the Mácha's Máj and Hrabal's Pábitelé. reason why only Oldřich Hamera -old artist-beginner, though Boud- motifs of the famous Mácha's In her monograph, Eva Čapková pre- remained faithful to informal abstraction ník was still rejected and ignored poem with the motifs of his sents a plastic image of Oldřich Hame- and continues to create in the spirit of by the official culture, but already travels to the Krkonoše mountains ra's work and reflects on the most it until today, is in my opinion this: respected and admired by dedica- (Czech Republic) and to Italy. important inspirational stimuli, life Hamera is, after Boudník, the only real ted experts. Oldřich Hamera was Already in his early period, contexts and artistic influences that explosionist who has seriously accep- introduced not only to Boudník's Hamera tried to emancipate determined the depiction of this image. ted Boudník's artistic program and artistic program – explosionism, himself from the influence of his In the opinion on the importance of consistently fulfilled it in his work. For but also to his innovative graphic master not only in expression, these factors, I would agree with the an explosionist, informal creation has techniques. In addition, the char- but also in technology. In his author in the vast majority, I would only an objective basis in real natural ismatic master was more than conception, the monotype was to strongly emphasize, among others, the structures and therefore cannot be willing to share with the student become a full-fledged art tech- his rich practical experience in nique, combining the qualities of

the field of graphic printing. And drawing and painting. The result ↗) Oldřich Hamera, not only that, Boudník also gave of his efforts was the discovery Untitled, 1965–66, Hamera a home-made press, on of a layered monotype, based on structural graphics, 35 × 27 cm which he printed his first graphic a unique way of processing inks, REMEMBERING ↖) Oldřich Hamera, works. which are applied to a printing Jedinec [A Person], 1972, monotype, 44 × 37,7 cm The main idea of Boudník's plate in several continuous artistic program was the association of chapter, some of the annotated works layers. By masterfully controlling the IVO KŘEN ideas based on random visual structu- are missing.) Other sections of the spatula, the artist then creates a colour There are torn and divided artists who res. Because Boudník was a factory monograph are dedicated to specific composition by gradually uncovering seek inner peace in their work, there worker and a resident of the big city, themes and some special art techniques and mixing the individual layers. The AND HIS WORK are eternal experimenters oscillating stains of peeling plaster on the walls – layered monotype, active etching, second discovery of Oldřich Hamera is between doubt and uncritical self-con- became a universal model of such derealisation, collage, assemblage. Valua- the technique of active etching, in ALENA LAUFROVÁ fidence. In the case of Ivo Křen's work, structures for him. However, in his ble observations can be found in compa- which the monotype is printed from it is a harmonious resonance between interpretations of explosionalism, he risons of Boudník's and Hamera's a metal plate, processed by etching his inner world and the world of natural also mentions the shapes of clouds and works. For example, the reader will without a cover. In this way, he achieves I first heard about Ivo Křen (1964–2020) in connection scenery and processes taking place rocks and the drawing of marble or learn how the two artists differ in their an original artistic effect, where a soft with the unique collection of contemporary Czech studio beneath the surface, themes that wood among the stimuli of the imagi- approach to active graphics, or what is structure created by etching shines attracted him and were a constant nation, which proves that he was an the formal difference in their conception through and, in places, appears in the glass artworks, which he gradually created as a curator inspiration for him. Landscapes that equally sensitive observer of nature. of symmetric structural graphics. second plan under a distinctive mono- and led at the Pardubice chateau. He also founded are intimate and monumental, lyrical, Thanks to his prophetic interest, non- Great attention is paid to the art of type drawing of the print. the Rubikon group, which brings together thoughtful and dramatic, symbolic and -conformist attitudes to life and inde- monotype, which Boudník had already Although it is not possible within secret. Ivo is one of the authors who pendent artwork, he became the prota- significantly enhanced with his sugges- a review of a book to dwell on all areas several outstanding glass artists. raised the neglected technique of linocut gonist of informal art in the former tive imagination and expressive gestural of Hamera's extremely extensive and to a higher level in our country. It was Czechoslovakia in the second half of abbreviation. Following in his footsteps, richly fragmented work, it is necessary Then I saw his exceptional linocuts and for Ivo was kind and accommodating, the medium of linocut that gave him the 1950s. Oldřich Hamera found in Hamera created extensive monotype to make an exception, at least for his we met a few times in the Hollar gallery. with a sense of gentle humour, and almost unlimited freedom in finding Boudník's explosionalism a way in cycles on Vodní svět [Water World], publishing and illustration activities. In In 2014, we did an interview for Graphei- he spoke in a refined manner about and combining graphic techniques which to combine his passion for the Zrod hmoty [The Birth of Matter], and the period of normalisation, Oldřich on together (it was at the request of the things that were always relevant and and expressions and corresponded mysterious underground and drawing Vesmír [The Universe] as early as the Hamera entered unofficial Czech culture then editor-in-chief, Simeona Hošková) interesting. well with his imagery perception and structures of minerals and rocks with 1960s. It was in the monotype that he as a publisher, graphic designer and and we became friends. And no wonder, feelings. 52 CHRONICLE 53

Second mention (EUR2,000): Henri Dupont, Cannisse, Stigmates, Pink Slipper (Chausson EXH COM PERIO CON →)FA I Rose), Vigilant on red background, etching IBIT →) PETI DIC →) FEREN RS Public prize: Malgorzata Chomicz, Simply IONS TIO →) EXHIBI CES artichoke flower INTERNATIONAL ASSOCIATION NS TIONS OF PASTEL SOCIETIES 13TH INTERNATIONAL S.C. BES Romania Award: Judy Woodborne, 36TH JURIED EXHIBITION BIENNIAL OF CONTEMPORARY South Africa, Clotho – the weaver from the DUNEDIN/USA PRINTMAKING „IOSIF ISER“ three fates, linocut DUNEDIN FINE ART CENTER PLOIEȘTI/ROMANIA (1 April – 10 May 2020) MUZEUL JUDETȚEAN DE ARTĂ PRAHOVA 4TH RENÉ CARCAN (4 December 2019 – 6 February 2020) INTERNATIONAL PRIZE FOR PRINTMAKING BRUSSELS/BELGIUM BIBLIOTHECA WITTOCKIANA (until 23 February 2020)

↑) Christine Swann – Impact, 318 × 406 mm, Prix de Pastel Award

The exhibition included 86 pastel paintings from artists in six countries, representing 36 member IAPS societies, juried from 1114 entries from the U.S. and 11 countries around ↑) Malgorzata Chomicz Chomicz – Ticho XI, 2018, the world. The IAPS, est. 1994, is currently Ivo Křen's work is characterised by the linocut is considered definitive. Ivo is ↑) Judy Woodborne – Clotho – the weaver from the linoryt, 500 × 700 mm, Grand Prix / 1. cena comprised of 94 member societies and conti- search for his own landscape morpho- inventive and surprising in the combi- JAROMÍR RYBÁK ABOUT IVO KŘEN three fates, linocut, S.C. BES Romania Award nues to grow every day. logy, which is based on real experien- nation of colours. At the same time, The non-profit association asbl Espace René ces of nature. (Ivo did not hide the ini- each of his prints has a different com- I remember a mishap I once experienced In 1993 on the occasion of organizing the Carcan was created in 1990 by René Carcan Jury of selection: Myles Johnston, Anna tial great influence of his professor Bo- positional pattern. The compositions with Ivo! He loved well-crafted situations Iosif Iser painting retrospective, the Prahova (1925-1993). Its main aim is to develop the art Wainright, Charles Peer řivoj Borovský at the Faculty of Educa- are generously conceived, free of details, and practical jokes in general. So, I pre- County Art Museum „Ion Ionescu-Quintus“ of printmaking. Twenty years after his death, Judge of awards: Brooke Allison tion in Hradec Králové, where he stu- with a distinct emotional charge. They pared a rather sneaky prank for him on through its late director, art critic Ruxandra the Espace René Carcan, in partnership with died art education and the Czech lan- speak to us through their mood, intimacy, the phone. We exhibited together in one Ionescu, launched the idea of a biennial in the King Baudouin Foundation, decided to Prix de Pastel Award: Christine Swann, guage). He relies on records to which artistic communication. With his theatre and I told him not to bother the field of printmaking. Within the thirteen create the René Carcan International Prize for Pittsburgh PAL, Dojem (Impact) he returns even after a long time. (For graphic work, Ivo reveals the soul of coming by a train, that I would include editions held so far, the importance of the Printmaking which took place for the first Gold Award: Lyn Asselta, First Coast PS, example, Ivo processes his sketches a poet, and it is certainly no coincidence one of his graphics with a vavona frame, event has been continuously emphasized, time in 2014, thus fulfilling the greatest wish From Rock to Wood from Iceland ten years later). The per- that Ivo’s first linocuts – albeit in black and that only one picture would fit on both by increasing the number of participants of the artist. The call is open to engravers and Silver Award: Vianna Szabo, Great Lakes PS, ception of a particular landscape thus and white – were created as part of his the wall anyway. At the exhibition, I told and and through the ascending evolution, engraving students of all nationalities and of Last Hurrah undergoes a transformation, shapes diploma thesis for the composition of him on the phone that everything went from a quantitative and qualitative point of any age who use the following techniques: Bronze Award: Yana Golikova, RRPS of Nevada, are reduced, it is often the language of Night with Hamlet by Vladimír Holan. well, except for the fact that his graphics view, of the works entering the competition. intaglio, lithography, linocut, xylography Devon rex symbols. In addition to shapes, he also Knowing Ivo Křen as well as his got stolen and Ivo said: ‘Well, would you It is addressed to all interested Romanian and (wood engraving), serigraphy (silkscreen Honorable Mention Awards: Brenda Boylan, works with structures that character- work touched many people significantly. believe the kind of people that exist foreign professional artists, regardless of age, printing) and monotype. PS of America, Elgin Evening; Natalia Cheko- ise the landscape in more detail, putting It touched his friends, connoisseurs of today! Who would have thought!’ So, is open to all printmaking techniques. The Jury: Virginie Caudron, Museum of Drawing tova, NPS of Russia, Straight up the Stairs and it into a context or indicating the invi- graphic art and casual spectators. And I interrupted him and said: ‘You know, awarded works, but also a large part of the and Original Print in Gravelines, France to the Right; Ying Feng, North America PAA, A sible realm of the microworld. No less the reason is clear. This man of gentle- Ivo, they left your graphic leaning against other works presented enter the collection of (president of the jury); Charlotte Massip, Happy Girl; Jennifer Evenhus, Northwest PS, important is the choice of colours. He manly conduct and actions, a nice and the wall, they only stole the vavona the Art Museum Ploieşti. artist, France; Geneviève Laplanche, artist, Roadside Reds prints one colour on top of the other by sensitive man, is one of those artists frame!’ I left him with this information The 13th edition entered 447 works by 286 documentary librarian, Switzerland; Rebekka hand, and more than thirty-colour re- whose work is in rare agreement with for a while during which he was lament- artists from 47 countries. 316 were donated Baumann, visual artist, Switzerland; Roger INTERNATIONAL BIENNIAL gister can be thus created. Ivo does not their peculiarly perceptive, thoughtful ing about the times in which we live and to the Museum. Dewint, engraver, honorary professor of PRINT EXHIBIT R.O.C 2020 plan for the number of colours, the gra- and positively tuned essence. Such that no one appreciated the value of art drawing and engraving at the Brussels TAICHUNG/TAIWAN phics are created gradually, during the works are not subject to fashion trends anymore. After that I told him the truth Prahova County Council Award: Somsuk Academy, Belgium NATIONAL TAIWAN MUSEUM OF FINE ARTS work he decides on the next steps. It is and their testimony affects those who that I made it all up. Surapong, Thailand, Hopeless, mixed medi (online due to COVID-19 since 3 June 2020) the openness and a kind of ‘slowness’ have open hearts. And such pranks, we would keep Ploiești City Hall Award: Serena Pagnini, Italy, Grand Prix / First prize (EUR5,000): Malgor- of this creative process that attracts preparing for one another! He was such The Banquet II (Il bancheto II), etching zata Chomicz, Silence XX, Silence XII, Silence Jury: Lifa Shaih, art critic; Chin-Yuan Rock Ivo. It allows him to immerse himself in fun and was up for any kind of mischief. U.A.P. Romania Award: Aura Evelina Radu, XI, linocut Shen, printmaker and visiting professor, a meditative manner in the landscape, Romania, Towards school, soft-ground etching First mention (EUR3,000): Fumio Yamaguchi, National Taiwan Normal University; Manray listening to it and to himself, too. The Prahova County Art Museum Award: Masaaki Winter Landscape _01, Larch trees in the field, Hsu, independent curator and critic; Ming-Dye process of adventurous experimenting Sugita, Japan, Lighthouse from the mouth, Birch tree in the winter, A tree on the moor, Yang, printmaker and professor, National ↑) Ivo Křen, and searching continues until the final Night Watch, 2012, linocut, 45 × 65 cm engraving lithography Kaohsiung Normal University; J.J. Shih, former 54 55

Tamás Kovács Award: Tamás Felsmann, Carlos Limorti García, coordinator of Cultural Bulgaria; presided over by the direction of Revelations, computer print; Marcin Flucuat nec mergitur 1–2, digital print affairs bureau, Autoridad Portuaria de Santan- Miniprint Kazanlak Szymielewicz, Poland, Singularis, drawing Special professional prize of the Hungarian der; Guillermo Balbona, journalist, El Diario Honorary Mentions: Magdalena Banaś, Academy of Arts: Barnabás Szita, Situations, Montañes; Andrea Juan, SM Pro Art Circle First prize in classical printmaking (plus fea- Darya Hancharowa, Agata Koszczan, Emilia gicléé + AR tured individual exhibition): Eric Mummery, Pitucha, Tomasz Wiktor (all from Poland) Free Gallery and Art Colony Award: Anett 1st Award (EUR4,000): Amy Sands, United Canada, Face to face with. Eight, 2019, wood Cifra, Relationships, soft-ground etching, States, Constellation XXI, monoprint – seri- engraving, 150 × 180 mm 7TH INTERNATIONAL ETCHING hand sewing; Graphic still life – Giotto’s graphy and lasercut First prize in digital & experimental printma- BIENNIAL OF VALLADOLID never-painted fly, screen print 2nd Award (EUR1,500): Cleo Wilkinson, Aus- king (plus featured individual exhibition): VALLADOLID/SPAIN Award the Foundation for Hungarian tralia, Whale, mezzotint Christiaan Diedericks, South Africa, Faith, PALACIO DE PIMENTEL Graphics: Tamás G. Kovács, Secret ingredient, 3rd Award (EUR500): Sioban Piercy, Ireland, 2020, archival pigment print, clear varnish (10 September – 25 October 2020) linocut with stencil; Kotocut stickers, linocut My small sea held by you (Atlantic II), inkjet silkscreen and embroidery, 180 × 180 mm ↑) Dan Obana, Japan – Charge into the Unknown, digital ↑) Sally Cutler, United Kingdom – Beneath the evening on self-adhesive foil print on waxed Kozo paper Honorary mentions: Hans-Christian Behm, print, Gold prize sun nature watches, collagraph, awarded in 2020 Nalors Grafika Award: Bianka Dobó Cantabrian Sea Award for local artist Canada, Starry Night at the End of Tunnel, Award of the Association of Hungarian (EUR500): Patricia Castanedo, Spain, Cabo 2020, embossing, chine collé; Colin Gillespie, director of the Museum of Contemporary Art evening sun nature watches, collagraph, Graphic Artists: Kinga Horváth, Connector XI, Mayor, monotype UK, Put together point of view, 2019, collage/ Taipei and Kuandu Museum of Fine ArtsKaoh- awarded in 2020 XII, aquatint 1st Mention: Raquel Martínez, Spain, relief; Heike Pander, Germany, Hedgehog, siung Normal University; J.J. Shih, former Satoru Yasuda, Japan, Unstable rest, etching Award of the International Art Colony of Lighthouse Night (Faro Noche), photo print 2019, intaglio/etching, aquatint, chine collé; director of the Museum of Contemporary Art Elvira Rodríguez Roura, Spain, It’s here (Estic Somorja: Luca Oberfrank, In principio erat with photopolymer film Alicja Snoch-Pawlowska, Poland, Fusion K-2, Taipei and Kuandu Museum of Fine Arts aquí), collagraph verbum I-II, textile, screen printing, sound 2nd Mention: Alicja Snoch-Pawlowska, 2020, silkscreen; Yasuyuki Uzawa, Japan, installation Poland, Ways of the Light 1 Downtown 2, 2020, digital print; Asuna Gold prize (NTD400,000): Dan Obana, Japan, MISKOLC GRAPHIC TRIENNIAL Award of the Institute of Visual Arts of Károly 3rd Mention: Bren Unwin, United Kingdom, Yamauchi, Japan, You in the mirror 2, 2020, ↑) Kacper Bożek, Poland – Parental Control, 1st prize Charge into the Unknown, digital print 2020 Eszterházy University: Adrián Ernő Rakk, Connected, monocopy – oil and mixed media etching, aquatint Silver prize (NTD200,000): Henryk BACK TO THE FUTURE With black work, our future is dark; Time on Arches paper Each artist may submit a maximum of two Krolikowski, Poland, The Boat MISKOLC/HUNGARY goes by, money comes; We are building, 4th Mention: Frances Valesco, United States, 11TH INTERNATIONAL original works that must have been produced Bronze prize (NTD100,000): Tek-Khean Lee, HERMAN OTTÓ MUSEUM – MISKOLC lithography The Sea - Lighthouse 3 BIENNIAL OF MINIATURE ART with chalcography (using direct, indirect Malaysia, In the Smoke GALLERY Award of the Visual Institute of the Rippl-Rónai Special Mention: Helena Kanaan, Brazil CZĘSTOCHOWA/POLAND or additive techniques) and which may be Special jury prizes (NTD80,000): (25 July – 4 October 2020) Faculty of Arts, University of Kaposvár: Anna CENTER OF THE PROMOTION OF CULTURE combined with other techniques considered Akimitsu Tamawake, Japonsko, Japan, Remem- Mészáros, Built environment I–II, aquatint 8TH MINIPRINT KAZANLAK (29 August – 9 October 2020) to be appropriate by artist, including digital ber Me; Chisanuphol Presanvorakitkool, Award of the Spanyolnátha magazine: Tamás 2020 procedures, produced during 2019 or 2020, Thailand, Ozymandias G. Kovács THE INTERNATIONAL max. size 76 × 112 cm and min. 54 × 75 cm. Merit prize (NTD50,000): Orlando Martinez CONTEMPORARY MINIPRINT Vesga, Colombia, Project for an Architecture V 3RD INTERNATIONAL MINI OF KAZANLAK Jury: Nuria Duque Estaire (president), deputy of Air (Stage 2); Amnat Kongwaree, Thailand, PRINT CANTABRIA 2020 KAZANLAK/BULGARIA delegate of the Employment, Economic Parasitism; Hyun-Jin Kim, Taiwan, Existence- THE SEA AND ART GALLERY KAZANLAK Development, Tourism and Participation Area; -W#3; Ting-Shiuan Wang, Taiwan, Attentive- THE LIGHTHOUSES (opening 27 August 2020) José Fuentes Esteve, professor of printmaking, ness from Afari; Jintu Mohan Kalita, India, SUANCES/SPAIN University of Salamanca; Blanca García Vega, Relationship CENTRO DE ARTE FARO CABO MAYOR professor of art history, University of Honorable mention (NTD30,000): Rafael Gil, (14 August – 31 December 2020) Valladolid; Alberto Valverde Travieso, Argentina, Topography of the Wall II; Dimitrije professor of printmaking at CEARCAL; Pecić, Serbia, A View From the Window; Yi-Fei Mercedes Vecino Quiza, printmaker, founder Tai, Taiwan, Concentrated Spirit; Warisara of Grupo Aguafuerte; Andrés Muñoz García Apisampinwong, Tailand, The Power of the (secretary), cultural management technician, Eastern Color No.4; So Imaizumi, Japan, I Can’t Valladolid Provincial Council Wait for Chance with Crouching Start ↑) Csaba Fürjesi – Finished future (Futurum exactum) I, ↑) Anna Szumigaj-Badziak, Poland – Space 3KL-N, linocut, engraving X6, Grand Prix of the Municipality of serigraphy, 1st prize Miskolc 1st prize (EUR5,000): Kacper Bożek, Poland, 40TH MINI PRINT Parental Control (see also Kochi) INTERNATIONAL 1st selection round jury: Krisztina Dékei, art Anna Szumigaj-Badziak, Poland – Space 3KL-N, 2nd prize (EUR3,000): Juan Escudero García, OF CADAQUÉS 2020 historian; József Gaál, artist; László Lengyel, serigraphy, 1st prize Spain, Cambios (Changes) CADAQUÉS/SPAIN art historian; Katalin T. Nagy, art historian; 3rd prize (EUR2,000): Manuel Moreno Morales, ↑) Eric Mummery, Canada – Face to face with. Eight, 2019 TALLER GALERIA FORT Péter Stefanovits, artist wood engraving, 150 × 180 mm, First prize in classical Jury: Dariusz Kaca (president), Graphic Arts Spain, Transeúnte I (Passerby I) (27 June – 30 September 2020) 2nd selection round jury: Katalin Aknai, art printmaking Institute, Fine Arts Academy, Lodź; Piotr

historian; Péter Jónás, printmaker, winner ↑) Amy Sands – Constellation XXI, monocopy – serigraphy Korzeniowski, Department of Painting, Fine 7TH BIENNIAL FOOTPRINT The image must not be bigger than 10 × 10 cm of last year's main prize; Gyula Július, and laser cut, 1st Award The Contemporary Miniprint of Kazanlak’s has Arts Academy, Krakow; Justyna Warwas, INTERNATIONAL EXHIBITION (paper 18 × 18 cm). Accepted works will also be printmaker; Ábel Kónya, printmaker; Éva ambition in becoming a forum for discussion Department of Arts, University of Humanities 2020 exhibited in the Galerie L’Etangd’Art in Bages, Vargaová, sculptor, winner of last year's main This year, 273 artists from 44 countries and collaborative exchange between artists and Natural Sciences of Jan Długosz, Częstocho- NORWALK/U.S.A. France, and in other places. Each awarded artist prize around the world have dared to submit their and art lovers in the years to come. Despite wa; Robert Sękiewicz, gallery curator, Center CENTER FOR CONTEMPORARY PRINTMAKING will be invited to have a one-person show of 676 small-format (20 × 20 cm) graphic works. the worldwide pandemic disruptions, this of the Promotion of Culture, Częstochowa (13 September – 22 November 2020) his/her small format prints within the next Mini Grand Prix of the Municipality of Miskolc: eight edition was incredibly strong and selected Print International in the gallery in Cadaqués, Csaba Fürjesi, Finished future (Futurum Jury: Alexandra G. Nuñez, director of Espacio over 400 works from 140 artists and 34 1st prize: Anna Szumigaj-Badziak, Poland, The competition is an opportunity for the during the summer season. exactum) I–II, linocut, engraving X6 Alexandra; Nuria García Gutierrez, director of different countries around the world. Space 3KL-N, serigraph presentation of current trends and innovations Award of the Ministry of Human Resources: the exhibition area of the University of Can- 2nd prize: Jakub Zdejszy, Poland, Reminder, in contemporary printmaking within the Awards: Gábor Koós, Untitled (Chimera project), pa- tabria; Sara Huete, artist and director of Dr. International jury: Barbara Graham, New Zea- serigraph bounds of the one square foot (12" × 12") Sally Cutler, United Kingdom – Beneath the per, wood, frottage; Vaii Morilor, frottage Madrazo Art Center, Santander City Council; land; Gordon Sherman, USA; Peter Boyadjieff, 3rd prize: Łukasz Chmielewski, Poland, Silent configuration. 56 57

voice. The Foundation presents the Queen Velásquez, Argentina, A New World (Nuevo THE 11TH KOCHI first Central European museum to do so, the Sonja Print Award every other year. The Mundo), burin, aquatint; Marco Trentin, Italy, INTERNATIONAL TRIENNIAL Albertina Museum is providing a glimpse winner receives a cash prize of NOK400,000 Petty Violence, wood engraving EXHIBITION OF PRINTS into the Guerlains’ activities as collectors by and an educational stay at the Atelje Larsen Mentions: Veronica Arellano, Spain, Plastics KOCHI/JAPAN showing a selection of highlights from these art studio in Helsingborg, Sweden. no (Plásticos no), iron engraving; Alberto INO-CHO PAPER MUSEUM holdings. Forty-four artists were nominated for the Balletti, Italy, Stunt Ration – Gloria, aquatint, (31 October – 26 December 2020) 2020 Award by curators, museum directors inkjet; Ana Giuffrida, Argentina, Ineffable TRUE GRIT and fellow artists from all over the world. The experiences (Vivencias inefables), photolitho- AMERICAN PRINTS AND nominees reflect the breadth of contempora- graphy; Ivo Jurozdicki, Argentina, Kiss and Sun PHOTOGRAPHS FROM 1900 ↑) Paul Anthony Smith – Untitled, 7 Women, 2019, ry printmaking today, ranging from traditional (Beso y sol), wood engraving; Adriana Pertuz, unique picotage on inkjet print, colored pencil, spray TO 1950 forms to new approaches involving installa- Colombia, S/T, etching; Antonio Canau, Portu- paint on museum board, 1,016 × 1,270 mm. © Paul LOS ANGELES/U.S.A. Anthony Smith. Image courtesy the artist and Jack tion, collage and performance. gal, The Covid-19. Pandemic’s blind scream!, Shainman Gallery, New York THE J. PAUL GETTY MUSEUM – GETTY CENTER ↑) Christine Aaron – Path, 2018, monotype, 1st place & digital (15 October 2019 – 19 January 2020) Awagami Paper Prize Jury: Emi Eu, executive director of STPI – identity–often experienced acutely by those In 2020, 319 prints submited by 180 artists Creative Workshop & Gallery in Singapore; 17TH INTERNATIONAL who have migrated across borders–while representing 18 countries. The juror selected Philip Tinari, director and CEO of UCCA TRIENNIAL SMALL GRAPHIC mining the fraught intersections of place, me- 95 works from 91 artists representing 21 Center for Contemporary Art in Beijing; FORMS mory, and dislocation. By incising his images, states and 13 countries. Christopher Le Brun, painter, printmaker and LODZ/POLAND Smith references several cultural traditions, sculptor, and former President of the Royal GALERIA WILLA AND OTHER VENUES ↑) Sayaka Kawamura, Japan – Rain Sound II, First prize including African tribal masking and scarifica- Juror: Jane Kinsman, distinguished adjunct Academy of Arts (23 October 2020 – 9 January 2021) tion, in which the skin is cut, leaving indelible curator, previously senior curator of Interna- First prize: Sayaka Kawamura, Japan, Rain patterns on the body. Just as these practices tional Prints, Drawings and Illustrated Books, QSPA 2020: Ciara Phillips, Scotland Sound II alter appearances, Smith's interventions com- National Gallery of Australia Second prizes: Kacper Bożek, Poland, Parental plicate the surfaces of his photographs and, 8TH MINIPRINT Control (see also Valladolid); Teppong Hong- at times, even completely obscure portions of 1st place & Awagami Paper Prize: Christine INTERNACIONAL ROSARIO srimuang, Thailand, Aesthetics of Culture No.2 the images, calling into question their authori- ↑) Alfred Stieglitz – Untitled (From My Window at the Shelton, North), 1931, gelatin silver print. The J. Paul Aaron, USA, Path, monotype ROSARIO/ARGENTINA The Museum of Art, Kochi prize: Wei Hua ty as representations of "truth." Getty Museum 2nd place: Anna Trojanowska, Poland, Muscle PARQUE DE ESPAÑA CULTURAL CENTRE Zhou, China, Chang ‘An – Xi’ An Memory_2 (Pamięć Mięśniowa_2), lithograph (date uncertain due to covid-19 Takao Hiwasaki prize: Misaki Kaneko, Japan, A PASSION FOR DRAWING Early twentieth-century American artists 3rd place: Kyle Chaput, Rio Bravo III-III, USA, online since 9 October 2020) Kaio’s Wave THE GUERLAIN COLLECTION sought to provide diverse perspectives on the lithograph, laser-engraving, screenprint; Joan- Tosa Washi prize: Hidemitsu Tokuhiro, Japan, FROM THE CENTRE POMPIDOU shifting world around them. With works na Anos, USA, Had We World Enough (Four Syndrome X – Closed World PARIS drawn from local museums and a private Corners), engraving relief with chine collé ↑) Kalli Kalde, Estonia, intaglio, honorary medal Third prizes: Hideaki Sasakawa, Japan, Shisai; VIENNA/AUSTRIA collection, True Grit provided a survey of Honorable mentions: Sandra Cardillo, USA, Toyoki Inatsugi, Japan, Ground – Flock; ALBERTINA early twentieth-century printmaking together City Framework-7, woodcut, screenprint; The aim of the Triennial is to review the Wieslaw Haradaj, Poland, Symmetry (11 October 2019 – 26 January 2020) with a complementary selection of photo- Chris Lawry, Australia, Road Trip in Western trends and the latest achievements in printed Fourth prizes: Tomomi Suzuki, Japan, Leave graphs from the Getty’s permanent collection. Victoria, Dust, linocut graphics in Poland and around the world. The the scent of hope in your chest – In a rushing Compelling depictions convey a broad view of Binnie Birstein memorial prizes: Jane Cooper, international exhibition and competition has and bright figure; Toshinao Yoshioka, Japan, American culture that includes dance halls USA, Postlude, monotype on aluminium leaf been held since 1979. The exhibition enjoys Plastic Scenes: Understanding; Koichi Ogawa, and boxing rings, skyscrapers and subways, with hand additions; Barry Goldstein, USA, unflagging interest, artists from over 70 Japan, Red sphere no.17; Mitsuru Hiraki, parks, and tenement apartments. Using Sunset @ Kiawah, digital countries have already participated in the Japan, Far Thunder (Lotus/Earth/Water/Void); innovative techniques, these American artists exhibitions. Nobutoshi Kishinaka, Japan, Shot 5; Yoshinori captured the gritty world around them and THE QUEEN SONJA PRINT ↑) illustration image In 2020, as in previous years, prints from Kurimoto, Japan, Did you receive the message came to terms with modern life. AWARD 2020 plates of the size of 12 × 15 cm, made in the I; Tomoko Suzuki, Japan, Alone 20.1; Madoka OSLO/NORWAY This triennial competition of miniature prints so-called „noble techniques“ were qualified. Kiryu, Japan, Glass Carnation; Stefano Fallani, A GIFT OF ART FROM ROYAL PALACE IN OSLO (max. printed area 10 × 10 cm) is organized 504 participants from 50 countries sent their Italy, Citta Continua (Continuous Town); MARILYN F. SYMMES (Royal Palace in Oslo) by the School of Fine Arts of the National works to this year’s Triennial; 830 prints by Francisco Robles, Mexico, The Root Is Preceded STANFORD/U.S.A. University of Rosario. In 2020, 266 works 303 artists were selected for presentation at STANFORD UNIVERSITY – CANTOR ARTS from 24 countries were received, 249 were the main exhibition. PAUL ANTHONY SMITH CENTER selected and are exhibited online. A large Due to the coronavirus epidemic, the regular OMAHA/U.S.A. (20 November 2019 – 18 May 2020) exhibition, made up of award-winning, auction of small graphics has been postponed JOSLYN ART MUSEUM

mentioned, and selected works and the works indefinitely. (5 October 2019 – 19 January 2020) ↑) Javier Pérez – Primigenios II, 2007, indian ink and of award-winning artists of the 2017 edition, watercolor on pergament. Donation de la Collection is planned to be mounted in the Galleries of Jury: Majla Zeneli; Jaroslav Kachmar; Marek Drawing on the art historical traditions of Florence et Daniel Guerlain, 2012 Centre Pompidou – Musée National d’Art Moderne, Paris © javierperez_artist the Parque de España Cultural Center, when Basiul; Dariusz Kaca; Dariusz Leśnikowski Pointilism and Geometric Abstraction, Paul authorities and sanitary control allow it. Anthony Smith (b. 1988) creates “picotages,” Ever since the 1990s, Florence and Daniel Honorary medals: Ioannis Anastasiou, Greece; named for a pattern printing technique that Guerlain’s interest has been focused on con- Jury: María Suardi, Silvii Pagliano Yoshito Arichi, Japan; Thomas De Spiegeleer, entails pressing textured blocks onto fabric. temporary drawing, and the two have by now Belgium; Darya Hancharova, Belorussia; Trained in ceramics, Smith uses sharp, woo- accumulated an extensive collection of works ↑) work of Ciara Phillips, recipient of the Queen Sonja Print Award 2020 Latin American Special Award: Acosta Rubén Jakub Jaszewski, Poland; Kalli Kalde, Estonia; den tools to stipple the surfaces of photogra- by internationally known artists. They are Darío, Argentina, Eva arriving at the wolf's Eric Mummery, Canada; Masaaki Sugita, phs he has taken in New York City and Jamaica also the initiators and sponsors of the Prix de The main purpose of the H.M. Queen Sonja house (Eva llegando a casa del lobo), linocut Japan; Anne Valkenborgh, Belgium; Katarzyna that examine the African and Caribbean dessin, which is conferred annually by a jury. Art Foundation is to generate interest in Awards: Sonia Mottier, France, Pandora, Zimna, Poland diasporas. Having emigrated to the United 2013 saw this couple donate part of their

graphic art and to encourage young artists mezzotint; Sara Sanz Nisa, Spain, Could States from his native Jamaica, Smith has collection—totaling 1,200 drawings—to the ↑) Su-Li Hung – World Trade Center, 2001, woodcut. Gift to develop both their craft and their unique be (Podría ser), photopolymer; Guillermo long been captivated by the concept of hybrid Centre Pompidou in Paris. And now, as the of Marilyn F. Symmes, 2018.9 58 59

An eclectic selection of prints and drawings style or subject, or experimenting with a new ŽIVOT RAFFAELŮV that highlight different ways of thinking technique. 12 LEPTŮ JOHANNESE about works as both images and objects. The exhibition aims to trace the development RIEPENHAUSENA of 20th-century art in Europe and America BERLIN/GERMANY RAYMOND PETTIBON through key pieces in Walker's collection, GEMÄLDEGALERIE AND WHAT IS DRAWING FOR? which he viewed as a record of his own (14 January – 26 April 2020) / art-historical education. It also demonstrates Walker's own tastes from the figurative to (21 November 2019 – 4 July 2020) the abstract and consider what motivates collectors like Walker to surround themselves Ra- with art. Other venues: F. E. McWilliam Gallery, Northern Ireland, 14 Nov 2020 – 30 Jan 2021; National Gallery of Ireland, Dublin, 13 Feb – ↑) Johannes Riepenhausen – Raphael’s Vision from 12 30 May 2021; Danum Gallery, Doncaster, 24 sketches of the life of Raphael of Urbino (12 Umrisse zum Leben Raphaels von Urbino), plate VIII, 1833/1835 outline ↑) Tsukioka Yoshitoshi – Appearing as if Having Been Jul – 1 Oct 2021; Winchester Discovery Centre, etching. © Staatliche Museen zu Berlin, Kupferstichkabine- on a Stroll, Behavior of a Lady of the Meiji period, 1888, ↑) Luis Feito – Untitled ↑) Rufino Tamayo – Man with Tall Hat (Hombre con som- 19 Nov 2021 – 9 Feb 2022 tt / Dietmar Katz woodblock print (nishiki-e); ink and color on paper with brero alto), c. 1930, watercolor, charcoal on paper, embossing, publisher: Tsunajima Kamekichi; carver: Wada 613 × 457 mm. Los Angeles County Museum of Art, The Yūjirō. The Mary Griggs Burke Endowment Fund esta- Established in 1993 by the Calcografía Bernard and Edith Lewin Collection of Mexican Art, Art © FROM GÉRICAULT In the early 19th century, the Raphael ‘boom’ blished by the Mary Livingston Griggs and Mary Griggs Tamayo Heirs/Mexico/Licensed by VAGA, New York, NY, Burke Foundation, gifts of various donors, by exchange, Nacional, the National Award for Graphic photo © Museum Associates/LACMA TO ROCKBURNE had reached its apogee. The search for the and gift of Edmond Freis in memory of his parents, Rose Art aims to recognize the work of creators SELECTIONS FROM THE bodily remains of the artist sent clergy, scholars who commited themselves to intaglio and on Tamayo’s longstanding interest in prints MICHAEL AND JULIET and artists of the time into a frenzy. Raphael, ing objects are of the highest quality and related techniques, promote their practice as a means of exploring new techniques and RUBENSTEIN GIFT who was born on Good Friday 1483 and died 37 include all of Yoshitoshi’s masterworks. and stimulate the collection of prints. In the furthering experimentation. NEW YORK/U.S.A. years later on Good Friday 1520, had reques- This exhibition aimed to highlight how ↑) Raymond Pettibon – No Title (I felt I...), 2017, pencil, ink, and watercolor on paper, 1,794 × 1,314 mm. Private 2018 edition, the Award was awarded to Luis THE METROPOLITAN MUSEUM OF ART – ted that his body be interred in the Pantheon Yoshitoshi worked, his skill as a draftsman, collection courtesy of David Zwirner, © Raymond Feito (born 1929 in Madrid). The jury of the LIVING WITH ART THE MET BREUER in Rome. Raphael’s burial site was eventually and how he responded to changing tastes Pettibon, private collection courtesy of David Zwirner 22nd edition, made up of Antonio Bonet, PICASSO TO CELMINS (29 January – 29 March 2020) discovered in the Pantheon, on 14 September between around 1860 and 1890. Some of the ymond Pettibon (b. 1957, Tucson, AZ) has Javier Blas, Ricardo Centellas and Juan Bordes, TRAVELLING EXHIBITION/UNITED KINGDOM 1833, and his bones (including the skull) were published prints were shown directly beside been a key figure in American art since the as secretary, valued “his use of the resources BRITISH MUSEUM able to be exhumed. Sensing an opportunity, his original sketches. This was the first time 1990s. In his unique drawings, he delves into and languages of graphic art – specifically (14 January – 5 March 2020) the Göttingen-born, Rome-based artist Johannes that Yoshitoshi’s curious and largest-known America and its cultural and historical strata, etching, aquatint and monotype – in absolute Riepenhausen took action to profit from this painting—an image of six great generals of from the formative ethos of the American coherence and integration with their general event. Seventeen years earlier, together with the East and West, including George Washing- spirit to the subcultures on its margins. The aesthetic approaches. In this sense, his graphic his brother Franz he had released a series of ton and Napoleon III—has been exhibited mirror placed by Pettibon reflects a complex sketches are endowed with qualities that, due etchings on the life of Raphael. Now, he began anywhere. reality which distances its gaze to the previous to their gestures, approximate the practice reworking the material, illustrating all the century, speaking the language of each social of painting. Conversely, Feito’s pictorial work essential stages of the artist’s life, and in 1833 PAUL MCCARTHY: HEAD stratum he discusses. The core of each and is indebted to visual solutions experienced in released a 12-part series with captions in Italian. SPACE every drawing, however, is the dynamic the field of graphic art. Because of this way Two years later, the Rocca brothers published DRAWINGS 1963–2019 relationship between image and text, which of understanding and working in the field a German edition in Berlin and Göttingen with LOS ANGELES/U.S.A. opens up a space of reflection on behavioral of print, Feito can be considered heir to the explanations of Raphael’s life based on Vasari’s HAMMER MUSEUM patterns and cultural conditioning. From this classic peintre-graveur tradition.“ ↑) Dorothea Rockburne – Copper Element # 1, 2002, work, which the Kupferstichkabinett now placed (2 February – 10 May 2020) copper, cut and pasted printed papers, and wax crayon on ↑) David Hockney – Jungle Boy, 1964, etching and aquatint space, Pettibon's work refines insights into paper, 248 × 191 mm. The Metropolitan Museum of Art, on display in the Cabinet of the Gemäldegalerie in black and red on mould-made paper. © David Hockney New York, Promised Gift of Michael A. Rubenstein, from the cultural moment in which we live, not RUFINO TAMAYO Photo Credit: Richard Schmidt as part of the celebrations to mark 500 years the collection of Michael A. and Juliet van Vliet Ruben- only in America. INNOVATION AND stein. © 2019 Dorothea Rockburne / Artists Rights Society since Raphael’s death. Featuring some 100 drawings and three video EXPERIMENTATION Spanning almost one hundred years of modern (ARS), New York works, the exhibition presented, for the first LOS ANGELES/U.S.A. art, this exhibition showcases highlights from YOSHITOSHI time in Israel, a concentrated and substan- LOS ANGELES COUNTY MUSEUM OF ART – the wide-ranging collection of Alexander In 1954, at the age of seventeen, the architect MASTER DRAFTSMAN tial body of work from Pettibon's extensive CHARLES WHITE ELEMENTARY SCHOOL Walker (1930–2003), longstanding film critic Michael A. Rubenstein bought his first work TRANSFORMED oeuvre. Clusters of motifs identified with (21 December 2019 – 11 July 2020) for London's Evening Standard newspaper and of art. Today, the collection, largely formed MINNEAPOLIS/U.S.A. his work (e.g. surfers, baseball players, and prolific collector of modern and contemporary with his late wife Juliet van Vliet, spans two MINNEAPOLIS INSTITUTE OF ART – CARGILL Charles Manson) and of the major themes it Rufino Tamayo (1899–1991) was a leading prints and drawings. In life, Walker surrounded centuries and consists mostly of drawings and GALLERY addresses (including capitalism, the American Mexican artist of the 20th century who himself with works from his collection in all watercolors, either lyrical or geometrical. One (1 February – 9 August 2020) government, and the war in Iraq) are inter- achieved international acclaim. He became rooms of his Maida Vale flat including his hundred and sixty works from the collection twined in the exhibition along an ars-poetical known primarily for his paintings and , kitchen and bathroom. He bought works of are promised gifts to The Met, to be shared by Tsukioka Yoshitoshi (1839–1892) is considered axis of drawings relating to art itself and but also created a robust body of works on art for pleasure rather than financial gain and the departments of Drawings and Prints and the last major artist of classical Japanese engaging with the artist's social status and paper, which provided an important avenue generously left his collection of over 200 Modern and Contemporary Art. This exhibition woodblock prints, known as ukiyo-e. His human condition. for formal and technical innovation. Drawn works on paper to the British Museum when highlighted and celebrated some fifty works career spanned Japan’s transformation from exclusively from LACMA’s holdings, this exhi- he died. The exhibition includes 30 prints and from the gift, ranging from a drawing by feudal backwater to modern nation-state, ↑) Paul McCarthy – Cooking Show, 2001, charcoal, graphite, and oil stick on paper, 2,489 × 1,810 mm. Private LUIS FEITO bition highlighted Tamayo’s engagement with drawings by artists ranging from Pablo French artist Théodore Géricault from about largely during the Meiji period (1868–1912), Collection NATIONAL AWARD FOR printmaking and also included a selection of Picasso and Henri Matisse to Lucian Freud, 1818 – the earliest work in the show – to when he was the undisputed leader in his GRAPHIC ARTS 2018 Mesoamerican sculpture from the museum’s Bridget Riley, David Hockney and Vija a wax-crayon drawing done in 2019 by a friend field. In 2017, the Minneapolis Institute of Art The first comprehensive survey in the United MADRID/SPAIN collection, an important source of inspira- Celmins. It demonstrates Walker's interest in of Rubenstein, artist Dorothea Rockburne. acquired nearly 300 prints, drawings, and States of drawings and works on paper by CALCOGRAFÍA NACIONAL tion for the artist. Spanning over 60 years artists' working methods and in transitional books by Yoshitoshi, which were collected by the Los Angeles–based artist Paul McCarthy (13 December 2019 – 9 February 2020 ) of his prolific career, the exhibition focused pieces that show an artist developing a new Edmond Freis over 35 years. These outstand- (b. 1945, Salt Lake City) revealed a rarely 60 61

examined aspect of the artist’s oeuvre. Produ- Smith, Glenn Ligon – serve to broaden, in Germany, Flanders, Italy, and France our lives. Perhaps this exhibition will be able after 1970, such as the work of Sigmar Polke, ced in thematic cycles, McCarthy’s drawings subvert, and reinvent the notion of self-por- working in this technique. Approximately 125 (online at https://sprengel.hannover-stadt.de/ K.P. Brehmer, Ulrike Ottinger, Maria Lassnig, share the same visual language as the artist’s traiture. A newly acquired highlight is Balding etchings were shown along with drawings, home) to give you some consolation and give Elaine Sturtevant and Equipo Crónica, while sculptural and performance works, addressing (2017), a set of 21 meticulously rendered printing plates, and illustrated books. you suggestions to deal with your environ- contemporary echoes of the style of Pop Art themes of violence, humor, death, sex, and drawings by SMFA graduate Cobi Moules, in This exhibition has been conceived in coope- ment, which is still very much restricted to can be found in works by Antje Dorn and SUSI politics, and featuring extensive art historical which the artist – a trans man – uses ration with the Metropolitan Museum in New the home. POP. and pop-cultural references. By presenting his extraordinary candor and humor to explore York. „Quiet moments“ are usually experienced in Alongside „outsiders” such as Jim Dine, there expansive career of more than five decades the many possibilities that await his future friendly surroundings and a warm atmosphere. were also Minimalist tendencies, as seen in the through the focused lens of drawing, the exhi- self. Moules is one of several local artists ACQUISITIONS OF Interiors and their furnishings offer a sheltered abstract, geometrical iconography of Robert bition offered a greater understanding of this included in the exhibition, alongside Allan THE MARIANNE AND HEINRICH retreat in uncertain and rushed times to relax Indiana, Gerald Laing and Allan D’Arcangelo. influential artist and social commentator. Rohan Crite, Jess Dugan, Michael Mazur, and LENHARDT FOUNDATION and come to rest. To withdraw from the What unites Warhol, Lichtenstein and their The exhibition featured 600 works on paper John Wilson. 2015–2019 public eye and to curl up in your own four colleagues is their concerted and creative use of selected from McCarthy’s archive. The works KAISERSLAUTERN/GERMANY walls is what cultural history calls cocooning. printmaking techniques, which allowed them to incorporate and utilize a variety of mediums, THE RENAISSANCE MUSEUM PFALZGALERIE KAISERSLAUTERN These states have been represented in art disseminate their compositions – produced as including charcoal, graphite, ink, marker, OF ETCHING (11 March – 14 June 2020) since the 17th century in the genres of still paintings and sculptures – to a larger audience, and collage, as well as more unorthodox FROM DÜRER TO BRUEGEL life and interior. Since the avant-garde reaching beyond the elitist art market. They materials such as ketchup and peanut butter. VIENNA/AUSTRIA movements around the turn of the 20th achieved this primarily through their use of A consummate and accomplished draftsper- ALBERTINA century until today, artists have freed silkscreen printing. As demonstrated by

son, McCarthy approaches his daily drawing (12 February – 18 October 2020) ↑) Jan Pietersz Saenredam after Hendrik Goltzius – Sight, themselves from traditional generic terms numerous loans from the Staatliche Museen zu practice as a way of thinking—a blueprint engraving, 178 × 124 mm and symbolism and found their own interpre- Berlin’s Kunstbibliothek, the divide between the for projects and a tool to flesh out complex tations of spaces and objects. The exhibition limited edition prints made for sale on the art ideas. Since the 1970s, McCarthy has also 16th century examples feature female figures follows these motifs in all their facets, market and the nevertheless high-quality incorporated drawing into his performances, accompanied by animals associated with the primarily from the graphic collection of the advertising material produced in large print implementing it as part of an action and often concept in question, or holding significant Sprengel Museum Hannover. It is not runs was at times fluid. drawing in character. objects or attributes. At the turn of the 17th structured chronologically, but is dedicated to century, printmakers in Holland, France and individual subject areas across time. JEAN DUBUFFET EXHIBITION PERSONAL SPACE England became more inventive, moving away PRINTS SELF-PORTRAITS ON PAPER ↑) Alexander Arundell – Super massive wild circle, blue, from traditional allegorical depictions to pairs POP ON PAPER LA LOUVIÈRE/BELGIUM 2018, material print. Graphische Sammlung, mpk, Inv.- BOSTON/U.S.A. -Nr. 18/2956, © Alexander Arundell / Dreipunkt Edition of amorous couples, women in fashionable FROM WARHOL CENTRE DE LA GRAVURE DE LA FÉDÉRATION MUSEUM OF FINE ARTS BOSTON – CLEMENTINE München 2020 dress and elaborate domestic scenes. TO LICHTENSTEIN WALLONIE-BRUXELLES BROWN GALLERY BERLÍN/NĚMECKO (2 June 2020 – 24 January 2021) (8 February 2020 – 9 January 2021) The Museum’s graphic cabinet today pre- QUIET MOMENTS KULTURFORUM serves one of the most extensive holdings of INTERIORS AND STILL LIFES (12 May – 16 August 2020 ) prints and drawings of modern and contem- FROM THE GRAPHIC porary art in the south-west of Germany In COLLECTION the past 25 years the Marianne and Heinrich HANNOVER/GERMANY ↑) Lucas van Leyden – Maximilian I, 1520, etching and Lenhardt Foundation has significantly enri- SPRENGEL MUSEUM engraving. ALBERTINA, Wien © ALBERTINA, Wien ched the graphic collection with more than (7 May – 19 July 2020) 500 purchases. The exhibition presented the most recent new acquisitions from 2015 to The early days of printmaking were punctua- 2019, works by Alexander Arundell, Nicole ted by several important innovations that Bellaire, Julia Farrer, Bodo Korsig, Matthias ended up giving rise to a multitude of Mansen and Luc Peire. The techniques of technical processes by 1500. In this context, woodcut, color lithography, screen printing or ↑) Cobi Moules – Two portraits of the artist at various staging of balding, drawn in graphite on paper the emergence of the etching during the late material printing were just as diverse as the 15th century along with its subsequent swift respective artistic handwriting. The exhibition, Can a self-portrait depict more than just an spread during the early 16th century which also celebrated the 25th anniversary artist’s physical appearance? The dozens of represents one of the most important turning of the Foundation, showed its successful ↑) Jean Dubuffet – Carrot nose (Nez carotte), 1962, contemporary works on paper in “Personal points. Following development of this acquisition history with the help of other 4-colour lithography based on assamblage. Coll Fondation Dubuffet, Paris ©ADAGP-Paris/SABAM-belgium2020 Space,” ranging from straightforward technique’s basic elements in the workshops outstanding sheets, impressively illustrating ↑) Allan D’Arcangelo – Landscape II from „11 Pop Artists II“ representations of the self to more conceptual of armor decorators, German printmaker the topicality and timelessness of classic , 1965/1966, silkscreen print on vinyl. © VG Bild-Kunst, Bonn 2019 / Staatliche Museen zu Berlin, Kupferstichkabi- renderings, showed an expanding definition of Daniel Hopfer began using etched (i.e., acid printmaking techniques in contemporary art. nett / Dietmar Katzra An elusive and polemical artist, Jean Dubuffet self-portraiture. With works from the turn of treated) metal plates to produce prints on (1901–1985) was a major player on the art the 20th century to today, “Personal Space” paper. Etching proved so easy to do that VIRTUE, VICE & THE SENSES For the first time ever, Berlin’s Kupferstichkabi- scene in the second half of the 20th century. presents visitors with a sampling of self-por- artists from the most varied fields found PRINTS 1540 – 1660 nett presented the highlights of its Pop Art Fascinated by paper, ink and printing, the traiture’s evolution over a century, and hints themselves able to produce their own CAMBRIDGE/UNITED KINGDOM ↑) Benjamin Badock – Prefabricated Building – Keep Off collection, one of the most important of its kind print is deeply linked to his painted work. The Grass (Kohlenberg Family), 2016, relief print on laid at where the genre might go in the future. prints— and among this new medium’s THE FITZWILLIAM MUSEUM – CHARRINGTON paper, 1,055 × 765 mm. © Courtesy Benjamin Badock + in Europe. Broken up into 10 „chapters”, Pop on The exhibition offered an exceptional insight Traditional self-portraits by major artists like pioneers were central artistic figures of the PRINT ROOM Parrotta Contemporary Art, 2020 Paper took a closer look at some of the into the artist’s lithographic experiments. Käthe Kollwitz and Jim Dine were on view Renaissance such as Albrecht Dürer, Parmigia- (17 March – 14 June 2020) individual artists and shared themes of Pop Art. It unfolds in two stages. The Phenomena here alongside experiments in the genre, such nino, and Pieter Bruegel the Elder. When the exhibition was planned, it was Beginning with the genesis of the movement in series, a veritable atlas of the world’s natural as Robert Rauschenberg’s Booster (1967), a The exhibition focused on the first 70 years of This exhibition looked at the spread and deve- of course not foreseeable how topical this England (Eduardo Paolozzi, Richard Hamilton) phenomena, constitutes the heart of the exhi- monumental lithograph that uses X-rays of the etched print: from its beginnings in lopment of prints representing abstract qua- topic would become, and that the complete and artists such as Jasper Johns and Robert bition. It comprises a total of 324 lithographs the artist’s own body. Works by younger Dürer’s time to Breugel’s era, which already lities such as the Five Senses, Seven Virtues withdrawal from public life into the private Rauschenberg, it also traced parallel European produced between 1958 and 1962. Each plate generations of artists – Willie Cole, Kiki saw numerous famous and less-famous artists and Deadly Sins. German and Netherlandish sphere of our apartments would determine developments and reflections leading up to and celebrates an aspect of the natural world, 62 63

reinforced by the poetic titles Dubuffet gave with his new works derived by exploring the In the 19th century, artists began to develop Kiki Smith. This special exhibition also placed Switzerland. To mark the artist’s ninetieth through an exploration of her relationship them. The second section reveals the research inner-city of Machida. new structures for self-marketing. The under- different generations in artistic dialogue, birthday, ETH Zürich’s collection of prints and with her mother, who died when she was that preceded and heralded this unique cycle lying idea was to create a forum for encounters highlighting relationships such as the catalytic drawings has decided to dedicate an exhibi- sixteen years old, and against the backdrop in the history of 20th-century printmaking. DE NATURA: between producers, collectors and the public. role that the oeuvre of Franz Gertsch played in tion to his early work, which is not widely of the crisis of immigration from Ethiopia to From the series of Murs de 1945 to the LIGHTS OVER The clubs shared its impulse to close the gap the work of the young Christiane Baumgartner. known so far. The exhibition takes the visitors Israel. Her engagement with the difficulties of Assemblages d’empreintes of 1953, the artist's ICELAND – PETER LANG between ambitious art and the growing mass back to the beginnings, when the young integration into a new society and the price it creative process culminated in the tasty 1962 KAISERSLAUTERN/GERMANY audience. With the help of edition prints, affor- REMBRANDT artist experimented with different means of entails also illuminates the stereotypes that hat figures from Les Phénomènes. 300 works MUSEUM PFALZGALERIE KAISERSLAUTERN dable originals could be brought into circulation. MASTERPIECES FROM THE expression and various styles – although he inform the social attitude toward others. (lithographs, paintings, books, assemblages...), (30 June – 1 November 2020) Folders or annual editions are popular forms COLLECTION always remained committed to the repre- all the diversity of Jean Dubuffet’s work mak- of offer in this sense. Since the late 1990s, the HAMBURG/GERMANY sentational. The Sammlung has collaborated REENTRY ing invention constantly renewed the pillar of Association has been regularly editing three HAMBURGER KUNSTHALLE closely with the artist in selecting individually FALL 2020 MEMBERS’ SHOW creation and thought. works at preferential prices that were previ- (30 August – 9 February 2020) themed groups of works from his personal WASHINGTON/U.S.A. ously selected by the board. The highlighted collection and juxtaposing them with works WASHINGTON PRINTMAKERS GALLERY „IMPRINT“ MACHIDA 2020 works form a series of different positions in from its own holdings. Studies, sheets from (3 September – 24 October 2020) FROM STRANGER TO contemporary printmaking, which of course go his sketchbooks, drawings as well as woodcuts NEIGHBOR: MACHIDA SEEN far beyond the scope of classic etching and also and artist’s books were on view. FROM THE "ARTISTS" include experimental mixed forms. A sumptuous array of color samples was on TOKYO/JAPAN is the oldest of its kind still in existence. view, stemming from the complex printing MACHIDA CITY MUSEUM OF GRAPHIC ARTS In the 19th century, artists began to develop process involved in his large-format later (9 June – 13 September 2020) ↑) Peter Lang – Ljósadans, 2018, aquatint, brush etching, new structures for self-marketing. The under- woodcuts and providing an invaluable insight handmade paper. Photo: author, © VG Bild-Kunst, Bonn lying idea was to create a forum for encounters into another aspect of Gertsch’s oeuvre. 2020 between producers, collectors and the public. The artist has collated these samples, which he Under the theme „de natura“ („about nature“), The clubs shared its impulse to close the gap describes affectionately as „études (de) the Museum presented three special exhibitions, between ambitious art and the growing mass couleurs”.They present a richly varied panoply which tried out artistic approaches to audience. With the help of edition prints, affor- of visual forms. contemporary landscape and nature represen- dable originals could be brought into circulation. tation in different positions. During long Folders or annual editions are popular forms ↑) Rembrandt Harmensz. van Rijn – Autoportrét s čepicí TIGIST YOSEPH RON a otevřenými ústy, 1630, lept a suchá jehla winter nights in Hellisandur (November 2018 of offer in this sense. Since the late 1990s, the THE WHITE PAPER IS BLACK to June 2019), the artist Peter Lang dealt with Association has been regularly editing three WITHIN the northern lights and natural phenomena of works at preferential prices that were previ- The 4th of October 2019 marks the 350th TEL AVIV/ISRAEL ↑) Robert S. Hunter – Questioning – Questions, 2020, the Icelandic winter. The result is prints that ously selected by the board. The highlighted anniversary of Rembrandt’s death (1606–1669). TEL AVIV MUSEUM OF ART original digital print, 178 × 152 mm use hard contrasts and reduced colors to works form a series of different positions in On display was a selection of outstanding (2 September 2020 – 3 April 2021) suggest abstract light phenomena on paper. contemporary printmaking, which of course go works from the museum’s Old Masters When Washington Printmakers Gallery closed They are works soaked in the play of light, full far beyond the scope of classic etching and also holdings and Prints and Drawings Collection. in March, the artists expected to reopen a of compositional harmony, that move between include experimental mixed forms. Exhibited alongside the three paintings was few weeks later. But things have not turned abstraction and perception as a landscape a selection of around 60 etchings, including out that way. Some gallery artists had extra picture. NATURE & SYMBOL landscapes, portraits and works on religious time to work in their studios; while others VIENNA/AUSTRIA themes. faced new challenges and longer hours in LINEAR CODE ALBERTINA In total, the Hamburger Kunsthalle’s Prints and their “day” jobs. And all had to find ways to ↑) Agung Prabowo – At the Gate of Fate, linocut reduction MUNICH ASSOCIATION FOR (6 August – 13 September 2020) Drawings Collection houses more than 300 come to terms with the loss, suffering and print on hand-made recycled paper, 2018. Property of the ORIGINAL ENGRAVING. etchings by Rembrandt. All of them came from uncertainty facing our country as well as to artist ANNUAL EDITIONS 1999–2019 The special exhibition focused on issues of the Hamburg art dealer and collector Georg adapt to a new normal. „Imprint“ Machida is an exhibition series that QUEDLINBURG/GERMANY identity and existence as well as on questions Ernst Harzen (1790–1863), who bequeathed Spread around the country, the artists conne- has been held since 2017 towards the Tokyo LYONEL FEININGER GALERIE relating to the search for the „where from” his collection to the City of Hamburg in his will cted in Zoom meetings, supporting one ano- Olympic and Paralympic Games. As (18 July 2020 – 10 January 2021) and „where to” of our ephemeral lives that for the eventual founding of the Kunsthalle ther and making plans for when they would a comprehensive compilation of the series, flow through space and time. Four artistic in 1869. This important collection of inter- no longer be “in orbit” around the gallery, and this exhibition showcases artworks and self- stances from the Albertina collection of national standing made it possible to show could re-enter it to display their work. That -produced works by „people who reside drawings and prints make especially clear the Rembrandt’s print oeuvre in all its many facets. time has finally come, bringing a new show on (artists and citizens that are based in Ma- influence had by artists’ respective genders, „Rembrandt: Masterpieces from the Collec- the walls. chida)“, and creations by „people who come generations, and origins on their creative tion“ were presented in a cabinet in the Old As one member says, ”While we do have to (artists who are invited by us)“. The aim is to output, for which reason this presentation Masters galleries and in the Harzen Cabinet. reinvent the logistics of visitors and safe pro- depict the city of Machida – under the theme centered on the juxtaposition of 20 works cedures, we do not have to reinvent who we of nature, culture and the history – through by Franz Gertsch, Christiane Baumgartner, FRANZ GERTSCH are. The ReEntry show will affirm that, while printings, mainly wood-block prints. In addition, Ofer Lellouche, and Kiki Smith—all of them LOOKING BACK. A NINETIETH ↑) Tigist Yoseph Ron – Fray, 2020, charcoal on paper, we may have been absent, we are back.” by widely recognizing block-print artworks as acquisitions and donations of the past two BIRTHDAY TRIBUTE 1,355 × 790 mm. Courtesy of the artist, Raanana a type of printing matters, self-produced free decades. ZURICH/SWITZERLAND THOMAS RANFT AT 75 newspapers and magazines issued by local This selection of works also shows how the ETH ZÜRICH – GRAPHISCHE SAMMLUNG Recipient of the 2019 Haim Shiff Prize for THE RILKE CYCLES citizens are introduced in this exhibition. digital and analog worlds as well as reality (1 September – 15 November 2020) Figurative-Realist Art. Tigist Yoseph Ron’s CHEMNITZ/GERMANY Furthermore, organizers have invited up-and- and imitation have been dealt with from an expressive charcoal drawings depict por- KUNST SAMMLUNGEN CHEMNITZ –

-coming artist Agung Prabowo (b. 1985) from ↑) Horst Thürheimer – Untitled (Ohne Titel), 1999, linocut. immensely broad diversity of perspectives. The artist Franz Gertsch (b. 1930) is one of traits, events, and impressions from the Atlit SCHLOSSBERGMUSEUM Indonesia, for which the city of Machida is Photo: Kulturstiftung Sachsen-Anhalt This presentation also featured discourses on the most important artists of his generation, Absorption Center, where she stayed with her (27 September 2020 – 10 January 2021) designated as a host town, as a guest artist questions of identity, be they in light of reli- and his huge photorealistic paintings and family after immigrating to Israel in Operation for the finale of this series. His masterpieces The Munich Association for Original Engraving gious, geographic, political, or gender-specific woodcuts, emerging from 1969 onwards, Moses in 1984. Yoseph Ron engages with Thomas Ranft’s (b. 1945 in Königsee) portfolio are shown for the first time in Japan, along is the oldest of its kind still in existence. aspects, as in the cases of Ofer Lellouche and belong to the most iconic works of art within questions of identity and self-determination works are legendary, consisting of series of 64 65

role of women, the chronicle of war and the characterized by crossing the boundaries The painter and graphic artist Rudolf Jettmar evoke distinctive ways of seeing and making study of physiognomy. Goya’s first glance is between classical art techniques and genres was closely associated with the Academy of sense of the world. For some, it recreates directed at women. It investigates his and the range of materials used, including Fine Arts Vienna. It is therefore not surprising a physical environment, grounded in a deep repertoire of the feminine, seen from various nails, paper, wood, textiles, stone, ash and that the Academy’s collections contain a total connection to place or country. For others, it points of view. The world of women is shown clay. Since the end of 2017, research into the of 154 of his works – namely two paintings, 13 is an invention that springs forth from history, in their daily activities, their moments of extensive work of this artist has taken place drawings and 139 prints. The exhibition tried memory and the imagination. The exhibiting leisure and fun, also as an object of male in the Cabinet, which owns more than 160 to work out essential content and characte- artists are Martin Bell (Victoria), Matt Coyle violence, a victim of abuse, subjected to the graphic works by the author, and the ↑) Marcantonio Raimondi podle Raffaela – Tři Grácie nebo- ristics of Jettmar’s artistic work. According (Tasmania), Nathan Hawkes (NSW), Danie Me- li Charitky (Les trois Grâces ou Naïades), rytina, počátek patriarchal will..., and, simultaneously, strong exhibition presented both a selection of 16. století. BnF to the academy’s holdings, the focus was on llor (NSW), Peter Mungkuri (South Australia), women, capable of defending their children, works and this project. his etchings, but the existing paintings and Becc Ország (Victoria), Jack Stahel (NSW) and their families and even their patriotic ideals. and Engraving, presented in Tours, payed tri- drawings were also taken into account. Helen Wright (Tasmania). The second glance presents the prints in SELECTIONS FROM THE bute to one of the most famous artists in the Jettmar is considered one of the most impor- Other venues: 27 Feb – 25 April 2021, Lismore which Goya reflected the horror of the war DEPARTMENT OF DRAWINGS Western world on the occasion of the 500th tant representatives of symbolism in Austria. Regional Gallery; 8 May – 18 Jul 2021, Museum and its consequences. The universal human AND PRINTS anniversary of his death in 1520. 14 prints by The human body is at the center of his artistic of Art and Culture Lake Macquarie being is the protagonist of the events, there ANNIVERSARY HIGHLIGHTS Marcantonio Raimondi, Agostino Veneziano, exploration. This is either as a nude or out of are no sides, there are no moral judgments, NEW YORK/U.S.A Marc Dente and Ugo da Carpi, kept in the BnF date dressed in desolate landscapes or barely TIME FOR TAKE-OFF! ↑) Thomas Ranft – For a thousand years (Jahrtau- sendlang), undated. Property of the author, photo: only characters on the edge, capable of any METROPOLITAN MUSEUM OF ART graphics and photography department, are defined, empty spaces. It serves as a projection IMAGES OF FLIGHT FROM Kunstsammlungen Chemnitz/Schloßbergmuseum © VG atrocity to survive. In the last glance, the – GALERIE 690 in the focus of the exhibition. The engravings surface for symbolic image content such as ALBRECHT DÜRER relationships of Goya’s faces with the (8 October 2020 – 18 January 2021) based on Raphael’s masterpieces illustrate the topics beyond the rationally comprehensible TO JORINDE VOIGT fine, light, swirling works on paper. They contemporary physiognomy treatises of the importance that he attached to this method of – here above all death, dream and its usual BERLIN/GERMANY arouse the interest of museums and private artist are analyzed. Goya, in his graphic works, reproduction. Raphael occupies a central place location in the daytime, namely night. KUPFERSTICHKABINETT collectors alike. What subject would thus but also in his inventive paintings, builds faces in the history of graphics and its development His pictures are supposed to evoke moods (31 October 2020 – 21 February 2021) fit this lightness better than the sensitive far removed from the inexpressive countenance in Italy, traditionally even presented as the and feelings. A pessimistic attitude dominates language of poetry? It is no wonder Ranft of the courtiers, whose mask is dissimulation. first artist to understand the potential of here in the form of devotion to fate, resigna- finds his inspiration in the great poets whose The face in Goya dialogues openly and this medium to promote awareness of his tion and the idea of the nullity of being works focus on Germanlanguage word play, directly with the people, the main recipient of own work and the spread of his fame. His human. In the case of many works, however, for example, Ernst Jandl or Friedrich Hölder- the message of his prints. collaboration with the engraver Marcantonio it is not possible to make a clear statement in lin. And this time Rainer Maria Rilke. Ranft 300 YEARS OF Raimondi was not limited to the reproduction terms of content. The puzzling and indefinite has recently created two series based on his THE KUPFERSTICH-KABINETT of paintings, because Raphael also provided is a characteristic of symbolism. intensive preoccupation with Rilke’s poetry UECKER preparatory drawings, sometimes unfinished, und verse. The Schloßbergmuseum showed DRESDEN/GERMANY intended just for transcription into engraving, REAL WORLDS ↑) William Blake – God Judging Adam, ca. 1795, relief the two Rilke portfolios in honour of Ranft’s RESIDENZSCHLOSS etching, printed in color and finished with pen and ink and as is the case of the famous Murder of the In- DOBELL AUSTRALIAN 75th birthday. (2 October – 1 November 2020) watercolor. Accession Number: 16.38 nocents. He is also closely connected with the DRAWING BIENNIAL 2020 beginnings of the Italian chiaroscuro, the first SYDNEY/AUSTRALIA GOYA, THREE ASPECTS The Department of Drawings and Prints boasts Italian chiaroscuro prints are the work of Ugo ART GALLERY OF NEW SOUTH WALES THE WOMAN, THE WAR more than one million drawings, prints, and da Carpi, for example the Death of Ananias (24 October 2020 – 7 February 2021) AND THE FACE illustrated books made in Europe and the from 1518. MADRID/SPAIN Americas from around 1400 to the present ↑) Vasily Kandinsky – Joyous Ascent (Fröhlicher Aufstieg) CALCOGRAFÍA NACIONAL day. During the celebration of the Museum's RUDOLF JETTMAR from Masters’ Portfolio of the Staatliches Bauhaus (Me- (29 September 2020 – 3 January 2021) 150th anniversary, the department presented SYMBOLIST AT THE WIEN istermappe des Staatlichen Bauhauses), 1923, four colour four thematic installations that take an lithograph on wove paper. © Staatliche Museen zu Berlin, ACADEMY Kupferstichkabinett / Jörg P. Anders indepth look at the fabric of its collections. VIENNA/AUSTRIA Arranged in the gallery by theme, the works KUPFERSTICHKABINETT, HOSTED On 31 October 2020, Berlin’s BER airport has represented subjects that have been favored BY THEATERMUSEUM finally opened. To mark the occasion, the in the art world for centuries. Their juxtaposi- (15 October 2020 – 15 October 2021) Kupferstichkabinett is devoting a special tion – such as the pairing of still lifes by Paul exhibition to the subject of flying – from our Cézanne and Pablo Picasso, or head studies by historical fascination with it to the contem- Leonardo da Vinci and Ford Madox Brown – porary phenomenon of ‘flight shame’. On exposeed how different artists engaged with display were some 80 works by around 60 a particular theme. Together, the selected artists, including Albrecht Dürer, Rembrandt, works told a larger story about the evolution Goya, Eugène Delacroix, Max Klinger, Käthe and continuities in our appreciation of compo- Kollwitz, Robert Rauschenberg, Eberhard sition, style, technique, and subject matter. Havekost und Jorinde Voigt. ↑) Günther Uecker – Interferences (Interferenzen), 2001, Birds and insects have always been able to fly color lithograph, 800 × 600 mm. Kupferstich-Kabinett, Staatliche Kunstsammlungen Dresden WITHIN THE COLLECTIONS ↑) Peter Mungkuri – Country with trees (Punu Ngura) 4, – witches and demons, too, are believed to have RAPHAEL AND ENGRAVING 2019, drawing this ability. But humans? Our dreams of flight The round anniversary was seen as an PARIS/FRANCE began to form on paper long before they opportunity to present a selection of works MUSÉE DES BEAUX-ARTS DE TOURS Extraordinary drawings from place, memory became a reality. How depictions of flying in by Günther Uecker, who celebrated his 90th (8 October 2020 – 11 January 2021) and imagination. general, and of the homo volans (the flying birthday in 2020: Born in Mecklenburg in The exhibition presents the work of eight human) in particular, have evolved over the ↑) Francisco José de Goya – Caprichos, no. 12, Out Hunting for Teeth (A caza de dientes), 1797–1799, aquatint 1930, he has lived and worked in Düsseldorf In order to make its treasures more visible, the contemporary Australian artists who create centuries, were now shown in around 80 since 1955 and is one of the most important Bibliothèque nationale de France makes its ↑) Rudolf Jettmar – Evening bells from the Hours of the extraordinary new worlds in drawings of drawings, print and works of book art ranging night series (Abendläuten aus dem Zyklus Stunden der In his graphic creation, Goya adopts a deep international artists of the post-war genera- collections available to museums and libraries Nacht), 1901, engraving, dry point. © Kupferstichkabinett great complexity and invention. With drawing from the Middle Ages to the present day were critical reflection on three key aspects: the tion. His work, dating back to the mid-1950s, is throughout France. The exhibition Raphael der Akademie der bildenden Künste Wien as the principal medium, the exhibited works presented in the eight chapters. 66

OFF THE WALLS Joslyn has organized this exhibition that sheds THE PICASSO CONNECTION GIFTS FROM PROFESSOR new light on the famous firm’s artistic and THE ARTIST AND HIS JOHN A. ROBERTSON commercial practices. The exhibition explored GALLERIST AUSTIN/U.S.A. how the largest printmaking company in BREMEN/GERMANY GRAPHEION 24 BLANTON MUSEUM OF ART – PAPER VAULT nineteenth-century America visualized the KUNSTHALLE BREMEN International review of contemporary prints, (8 NOVEMBER 2020 – 14 MARCH 2021) nation’s social, political, and industrial fabric. (21 November 2020, opening delayed – 21 book and paper Known today for its lush, hand-colored March 2021) lithographs that nostalgically depicted an idyllic Yearbook 2020 republic of pioneer homesteads, sporting camps, and bucolic pastimes, these sentimental Published: images comprised only one aspect of Currier Hollar Foundation & Ives’ production. The company’s inexpensive and popular prints were a ubiquitous presence This magazine is issued one time a year in Czech for decades, and just as frequently touched on and also in English pressing social and political issues. Addressing economic development, western expansion, the The issue is freely available on the web site: Civil War, and controversies of racial and class www.nadacehollar.cz and www.grapheion.cz ↑) Mona Hatoum – Untitled (bed springs) I, 2018, lithograph, 1,190 × 780 mm politics, Currier & Ives portrayed scenes of urbanization, nation building, naval battles, Contact address: connected present. Significant works by well- catastrophic disasters, and current events that [email protected] -known as well as lesser-known artists em- were far from idyllic. phasized the freedom of art, which sensitively Other venues: 1 May – 29 Aug 2021, Shelburne Hollar Foundation: perceives the problems of the time and, in the Museum; 2 Oct 2021 – 24 Jan 2022, Florence Kateřina Obozněnková sense of an open society, overcomes existing Griswold Museum How does someone build an art collection? barriers. Christiane Baumgartner, Irene Chabr, Editorial Board Chairman: ↑) Dorothy Hood – Blade Skeins, 1987, collage, 508 × 762 Lutz Dammbeck, Tracy Emin, Isa Genzken, ART HERTZ ↑) Pablo Picasso – Portrait of a Woman in a Hat with Ondřej Michálek mm. Bequest of John A. Robertson, 2018 Pompoms and a Printed Blouse, 1962, colour linocut, Felix Gonzalez-Torres, Mona Hatoum, Olaf FROM KOLLWITZ TO MIRÓ 630 × 530 mm. Kunsthalle Bremen – Der Kunstverein in Holzapfel, Roni Horn, Jacqueline Merz, Nancy BREMEN/GERMANY Bremen, © Succession Picasso / VG Bild-Kunst, Bonn 2020 Editorial board: For John A. Robertson (1943–2017), Sper, Wolfgang Tillmans and Sandra Vasquez KUNSTHALLE BREMEN Kateřina Obozněnková, a renowned bioethics scholar and distinguished de la Horry were represented. The exhibition (21 November 2020, opening delayed – 21 The Kunsthalle Bremen holds one of the most Olga Frídlová, Jana Jiroutová, professor at The University of Texas at Austin focused on the future on the basis of recent March 2021) important collections of Pablo Picasso’s Barbora Kundračíková, Alena Laufrová, School of Law, the process was both dynamic additions to the Staatliche Kunstsammlungen: printed works in Germany. Like no other artist Pavel Noga, Jana Šindelová and highly personal. Robertson’s wide-ranging The pioneering gift from the Hoffmann collec- of the twentieth century, Picasso embraced collection of modern and contemporary works tion opened wide the door to the continuation the diversity of graphic techniques and Translations: on paper, nurtured by his own passion for art, of collecting works on paper. The exhibition substantially expanded them through artistic Jana Jiroutová, Kateřina Kyselica, his friendship with esteemed UT art historian also wanted to formulate perspectives for the variation and experimentation. For the first Olga Frídlová, Ondřej Michálek Richard Shiff, and a longstanding relationship coming decade: Desired but not yet acquired time, this exhibition presented the whole with the Blanton, grew to include works by acquisitions were presented as loans. breadth of the outstanding holdings of prints Corrections: international, Texan, and UT-affiliated artists. and drawings in the Kunsthalle and examined Olga Frídlová, Barbora Kundračíková, This exhibition celebrated Robertson’s REVISITING AMERICA the unique history of the collection. Ondřej Michálek, Tracy Templeton generosity and legacy with a selection of THE PRINTS OF CURRIER & The acquisitions came about through the prints, drawings, collages, and photographs IVES efforts of the Bremen art dealer Michael Hertz, Graphic design: from the nearly ninety works of art he OMAHA/U.S.A. who was the exclusive representative of Pavel Noga donated to the Blanton. With pieces by JOSLYN ART MUSEUM Picasso’s printed works in Germany – a visionary Michael Ray Charles, Sue Coe, Philip Guston, (21 November 2020 – 11 April 2021) at a time when Picasso’s work was still ISBN 978-80-906630-6-0 (online ; pdf, English version) Dorothy Hood, Terry Winters, Glenn Ligon, controversial. With his finetuned instincts, ISBN 978-80-906630-5-3 (online ; pdf, Czech version) Peter Saul, and Richard Serra—many of which Hertz placed the works on the market and in ↑) Ernst Wilhelm Nay – Oberon, 1949, lithograph. were on view for the first time—Off the Walls Kunsthalle Bremen – Der Kunstverein in Bremen, © Elisa- important exhibitions – such as the Documenta Grapheion is a non-profit project created presented a unique slice through recent beth Nay-Scheibler, Köln / VG Bild-Kunst, Bonn 2020 III in 1964. Thanks to his dedication, museums for informational and educational purposes decades of art on paper. and collectors soon also coveted Picasso’s in the field of fine arts During „The Picasso Connection: The Artist works. Especially Picasso’s large and colourful CROSSING BORDERS and his Gallerist“, a complementary exhibiti- lithographs and linocuts inspired numerous The project is supported by COLLECTING FOR THE FUTURE on was on display simultaneously in the artists and breathed new life into these media. the State Fund of Culture of the Czech Republic DRESDEN/GERMANY Department of Prints and Drawings with RESIDENZSCHLOSS printed works that the Kunsthalle Bremen (14 November 2020 – 22 February 2021) acquired through the Michael Hertz gallery, ↑) James E. Butterworth – Clipper Ship „Flying Cloud“, demonstrating the wide-ranging business Artists cross borders, help us understand diffi- 1852, lithograph. Gift of Conagra Brands, 2016.20.406 relations between Hertz and the Kunsthalle. cult topics, and give independent and critical There was presented a selection of works by impetus to new ideas. The exhibition defined In 2016, ConAgra Foods, Inc. (now Conagra artists such as Max Beckmann, Marc Chagall, the current position of the collection with the Brands) donated nearly 600 Currier & Ives Otto Dix, Alberto Giacometti, Käthe Kollwitz, intention of making a fundamental statement lithographs to Joslyn Art Museum. Now home Fernand Léger, Ernst Wilhelm Nay, Emil about the importance of drawings, graphics to one of the largest public collections of these Nolde, André Masson and Joan Miró. and photography in the global and digitally popular and historically significant images,