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Academic Papers 3Rd International Printmaking Biennial, Cacak, Serbia Academic Papers 3rd International PrintMaking Biennial, Cacak, Serbia 1 2 Book of Procedings Academic papers 3rd International PrintMaking Biennial, Cacak, Serbia Panel session 12 October 2018 3 4 Content Introduction: Irena Keckes.................................................................................................9 Milos Djordjevic........................................................................................10 Academic papers: Bess Frimodig Plurality and Eclecticism: My print or yours? Or ours?...........................….............14 Ivana I. Flegar Collagraph–Experiments in Printmaking .....…....................…………...............28 Irena R. Kneževic, Vladimir M. Rankovic, Filip S. Misita Graphic techniques in post-digital graphics era Further disqussion elements.............43 Maciej Zdanowicz Polish Printmaking in the Context of the Visual Music.Graphic Practices on the Border Between Image and Sound..................................…................................50 Milos Djordjevic Edition in/as Art..................................................................................................58 Nikola Radosavljevic Printmaking and Artist’s book - printmaking discipline within artist’s book,development, expansion and demarcation.......…...................................66 Zhi Han Struggle and harmony the influence of Existentialism on my writing......................72 Illustrated talks: Teresa Anna Ślusarek The universality of the term matrix in the process of arts education........................83 Teresa Anna Ślusarek Transgraphic migrations /parallelism of traditional and centemporary creative method/geo.graphy of art.....………..................................................................90 5 Academic paper Committee Irena Keckes, PhD Assistant Professor of Art University of Guam Head of the Committee Taida Jasarevic, PhD Assistant Professor, Hefford University Member Milos Djordjevic, M.A. Assistant Professor, Faculty of Education, Jagodina Member 6 Images Disclaimer All images in the article are used for non commercial purpose. The images are property of the authors and/or galleries and museums. Any action you take upon the images in this book is strictly at your own risk. This includes, but not limited, to borrow, download, reproduce, distribute, transmit or publish psychically or digitally for one’s own use or for any other purpose. Translation Disclaimer English translation of articles, excluding English native speakers, were prepared by authors or third party hired by the authors, thus they are responsible for consistency, accuracy or reliability of translation. Editors of the publication provided merely technical assistance. No liability is assumed by the Biennial organizers for any errors, omissions, or ambiguities in the translations provided in this book. 7 Introduction 8 How to make visible the various forms of print that are at the core of contemporary artistic practice?1. What are the most important connotations associated with printmaking today, and how the medium challenges some aspects of contemporary art? Printmaking not only crosses boundaries of diverse disciplines but because of its characteristics it has ability to collaborate with other fields such as science, ecology, feminism, social or political activism, performance, multimedia, to name few. Process, concept, print installation, experimenting with printing using unconventional materials, innovative processes, collaborations with other disciplines and more, are all parts of contemporary print practices. The tendency of the 3rd Čačak Biennial is to explore some ways in which printmaking today promotes an interchange of multiple practices. The Biennial gathered outstanding academic paper presentations in order to generate discourse on position, role and directions of printmaking today as well as its future. As a multifaceted event, it demonstrates that there are perpetually diverse theories and methodologies of printmaking as a contemporary art form. Engaging and challenging, the presentations voice ever-traversing exchanges of printmaking and its processes of delivery that are often subject to never-ending transformations. One of intentions of the presentations in the Biennial is explore if and how print practices are revolutionized through research, technologies, diverse communities and more. To extend, connect and collaborate between printmaking and other fields perhaps signify natural ways of art today. This expands conceptual and thematic fields related to printmaking practice. The aim is to perceive printmaking praxis beyond its traditional meanings, and ponder it as a field of visual and conceptual inquiry, as a pervasive and transformative force of art today. Irena Keckes, PhD Assistant Professor of Art University of Guam S.2 1 Sabine Trieloff, Interview with conceptual artist uis Camnitzer, Daros Exhibitions, 21 010, ZUrich, Switzerland. accessed June 5, 2014, http://www.youtube.com/watch?v=WOp9CcuQXo8. Camnitzer discusses the value of art and artworks in his exhibition, and his ways of staying independent as an artist. 9 PRINTOPIA Revitalization of printmaking art, strongly propelled by print studios during 60s across the USA, such as Universal imited Art Editions, Tamarind ithography Workshop or Gemini G.E., gave rise to renaissance of this discipline in the second half of XX c. It would not be exaggerated statement claiming this turn placed printmaking art for the first time to the same plane with the primary artistic forms such as painting or sculpture. Bold and new perspectives about printmaking processes and strategies made great impact on the print medium outreach and even classified printmaking as a promoter of a new speech. Moreover, new tendencies in printmaking influenced other art forms, thus exceeded the uniformity of the discipline. Crossover, intermedia and hybrid practices loosened the boundaries of traditional division of artistic disciplines. Ever since, concept of multiple moved toward the center of art practices to become omnipresent principal in contemporary art world. The use of print and print related processes varies from simple strategy for production, or basis for collaborative projects, to tactics for political, social, economical or cultural commentary. Much of new art forms and practices, actually or potentially involve concept of multiplicity. More and more artists apply prints as part of their creative processes. Multiples, whether printed and tangible or digital, now has significant place in various art forms and art practices. Resulting artworks are 1) hybrid, as the outcome of artistic practice which is not determined by consistent discipline or medium, 2) syncretic, as a reflection of the combination of two seemingly opposed creative possibilities, tactics, strategies or ideologies, and 3) plural, i.e. composed from different constituents in a viable relationship. Finally, prints created in multidisciplinary and interdisciplinary manner inevitably spanned ontology of printmaking. In other words, contemporary art fully reflects aesthetics of contemporary printmaking art. The decision of the organizers to establish section for academic papers as part of this year Biennial program, aside from ambition to develop the project, came out from the true need to set academic platform in local environment with international recognition with task for analytical and critical reflection on printmaking art and print medium. This undertaking was based on apparent lack of professional institution or regular event with strong academic prefix for re/examining the significance and potential of the discipline. Since print, aside in fine art, was and still is strongly rooted in vast social and consequently inevitable economical circumstances, interdisciplinarity was openly highlighted in the settings of proposition for the panel session. Following already well established international conferences for print practitioners and scholars (IMPACT, SGCI), Biennial also encourages 10 abandoning boundaries in course of exploring ideas about prints and printmaking art, whether the submissions and proposals referred to theoretical research, historical investigations, innovative interpretation of traditional techniques and materials or inclusive approach to new media and emerging technologies. Some of proposals were of distinct academic format other were more in the style of illustrated talks, but all are of equal importance for mapping complex and discursive field of print and print related practices. Milos Djordjevic, M.A. Associate Professor of Art and Мethodology of Тeaching Art Faculty of Education, University of Kragujevac, Jagodina 11 12 Academic papers 13 MY PRINT OR YOURS? OR OURS? ON THE PLURALITY AND ECLECTICISM OF PRINT Bess Frimodig1, PhD., MA, MFA, PG Cert (HE) Fellow of Higher Education Academy GOFAPP/ Prints and Projects Abstract: If the so-called non-artist is creative in the formation of their own life, the need to make art or images for a gallery disappear. I believe that print belongs to everyone. Print enables a poetic and expressive form which holds many parts and people together through curiosity and by exchanging ideas and discoveries. Print interventions open creativity in an advanced technocratic and urban society intended to reveal the dynamics and structures of a late capitalistic society and „to develop the architectonics of a utopian space of creativity in an increasingly computerised society” (De Zegher, 2001:19). Instigating site oriented print collaborations I
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