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 call on a widespread creative, intellectual, gastronomic and scientific network of experts. Working internationally in multiple spaces, from museums to the streets I have produced, together with the public, wall-hangings, and 33-meter-long scrolls. These interventions can be slow or fast, taking place in hospitals producing fanzines and a limited-edition cookbook written and illustrated together with patients, staff, and doctors. At the Victoria and Albert Museum, a 7-meter-long scented scroll by 200+ participants printed with plants, herbs, and spices. Yet, my ego hangs in the balance. I cannot claim most of these images to be my own. Only the ones I develop by myself, in my studio, I sign. Creativity and the handmade print used in an advanced technocratic and urban society raise questions regarding the relationship between a fully automated environment and expression. Keywords: multiple, plurality, creativity, self-expression, community, social media.

My print or yours? Or ours? On the plurality and eclecticism of print

Bess Frimodig, Biophilia2, a project designed togther with Monika Jakubiak

Flooded by images, relationships are experienced visually through social media, objectified by likes and followers in a farce of friendships. Meanwhile, mental illness and isolation have become a modern plague. ______

1 [email protected] 2 In Biophilia, at the KROAKARNIA Palace Museum in Warsaw inspired by the 1960s twentieth-century fabrics. Their colours and patterns derive both from folk art traditions

14 Tapping on screens fixes cultural and artistic trends, shaping thought and opinions of the masses. Working pictorially, this expands fashion, advertising, and photography. Work is now done by managing a series of inauthentic relationships through social media. An artist, used to the immaterial labour of manipulating images she surfs the precarious economy, she works both at the edge of the impossible as well as with society. In this, the artist is well positioned combining skills of the intellectual with the manual while linking imagination with the technical. Recognising these dynamics, the artist printmaker redistributes power, and the attack starts then from within the current system. An analogue print can be uploaded, digitally, unto Instagram to tell authentic stories of shared concerns, and deep thinking, by endless and virtual multiplications. To re-enact the revolution, the print rattles and rolls the in. Seeking to grab at the social structure, in the guts of the system, I believe that the power of modern art must come from real life and its perplexity. When an artwork is so much part of daily life that it cannot be separated, everyone becomes an artist. Collaborating across communities, I set themes to unify people by the deceptively simple, such as the common denominators of food and household economy, I work to shift awareness and to empower combining practical strategies with creativity by looking for shared experiences across class and cultures. These can be the neutral and safe spaces of gardening, cooking or eating. Change happens in the moment of encounter between creativity and the system, and so the revolution might be a series of almost, indecipherable shifts. Marrying practicality with printmaking, rolling out a slow-moving revolution where the prime material is human relationships, I place myself as the shadow of the ink. Drawing on the collective nature of the history of print, I work with communities through print, protest, and curiosity mixed with commerce. Cooperation, therefore, extends the definition of the print. Nehallenia Student print from the project Solidarity Turnip Screen print on cardboa ______and a life close to nature. During this three-day workshop with 11 participants from all walks of life, we looked at these ideas by searching for colors and shapes that helped us create and print our own designs. Starting with a silent walk through the park, we found. inspiration in the Sculpture Park at the Krolikarnia and nearby allotment gardens, reflecting on the influence of nature and its colours on our well-being. Printmaking can be mediations to stir internal changes.

15 Drawing on the dynamic between a personal vision and that of the collective, the fine art print can be a strategy for social engagement. This forces a dilemma: Whose print is it, then? Self-expression does not disappear with the Ultimate Socially Engaged Print, because at the beginning of print and its history, there was no artist, but an unknown engraver. inked to the collective for production and within a collaborative environment, the medieval print acted as a dialogical, interdisciplinary practice by default. The first communal print shops in monasteries sprung up in the cloisters when the church discovered the profitability of mass producing indulgences where the name of the sinner and nature of penance could be inserted by a quill in between the printed lines. aymen convened with the monks around the woodblock print inside the cloisters, a serendipitous meeting place for usually opposed disciplines that enabled a dialogue between the individual, an idea and the collective. Shikes argues that the importance of the handmade print as a socially-interconnected visual form of communication sprung from a „convergence of social, religious, economic, political, technical and cultural factors (1976: 4). Sometimes propaganda or protest, the woodcut print constituted when rallying the underdog „a site of resistance. Print is a „documentary tradition with scenes from everyday life resulting in fantastic imagery from which Bosch, Brueghel, Callot, Hogarth, and Rowlandson (all of peasant or artisan origin themselves) derived the strength to power their own deliberate work. (Hogarth, 2008: 16). Inseparable from everyday life, imagination and journalism harnessed the power of the printed image to titillate or protest. On a more benign and convivial level, predecessors to 20th century socially engaged a diverse community in 17th century France forming print-clubs. Print-clubs appeared spontaneously in market squares, where anyone who could afford an etching, made on increasingly cheap paper, could go and swap it for another, transgressing class barriers. These prints were often of exotic places connected to the rise of exploration and colonialism. Intaglio prints collected in albums changed hands in a constant re-ordering, mimicking a Cabinet of Curiosities, an early form of the museum. Collecting etchings became a way of building knowledge through taxonomy: juxtaposing, recording and comparing. Collections of prints became a „cabinet for contemplation (McGregor, 1999: 398). The early woodcut and later the etching with its physically gouged, carved and acid-bitten black lines are so curiously placed between the utilitarian, intellectual, political and the personal, that it becomes a valuable means of expression, resonating throughout society.

Print is theatre

Starting in the 17th century and distributed by channels outside the establishment’s institutions, etchings were once performed with a theatrical twist, pulled through the streets accompanied by actors’ voices.

16 Trumpets and fiddles on a cart blasted out stories of the lewd life of the nobility or dissent against new taxes and oppressive reforms. In Print Physic Garden at the ondon Victoria and Albert Museum, I sought to extend not the print itself, but its process because PRINT can be THEATRE. I see these manifestations as installations in action. Print Physic Garden was a sensory exploration of how a new kind of growth is springing up across the capital. Faced with a continuing population boom and climate change, visitors discovered how citizens are leading the revolution in food production and helping to create a more edible city. I ran the interactive print performance together with Ralph Kigell in a room filled with scented herbs, plants, and spices, based on ondon’s first physic garden which opened in 1673. Still there today, the Physics Garden is an enchanting walled garden in Chelsea where the city’s apothecaries once tended exotic species from around the world. On the night 500 people passed through and 200+ drop- in participants built an urban physic garden printing with plants, spices, and herbs, with inks and rollers in this sensory printmaking experience. The printing extravaganza resulted in a 7-meter-long print. A marathon of a sort it had taken long to prepare and poorly funded by the museum, I had to consider other ways of funding these complex and lengthy projects than relying on institutional handouts.

Bess Frimodig with Ralph Kigell printing with the public at the Victoria and Albert Museum, ondon.

By the end of the 1970s, printmakers climbed down from the barricades negotiating the 1980s hyper commercialised art worlds of the exclusive wall. „In parts, it could be viewed in 1960 to 1970s as a progression from author to exterior – an expansion of attention from the image itself, to the full sheet of paper, to the wall on which the paper hangs, to the surrounding cultural and economic structures that govern its reception (Tallman, 1996: 119). The commodity-based market forces a rethink of dissemination, moving from distribution of multiples to ways of engaging in economic systems.

17 Stencil prints, photographic offset, photocopies, and silkscreens were well suited, true to its past of balancing commerce with agitation. Distribution becomes the message paramount, working inside as well as outside institutions and society’s margins. For example, stencil-print graffiti artists such as Shephard Fairley (see Vol. II. pg.41: Fig. 18.) have taken large scale-print out into the streets to confront and beguile the pedestrian. Nevertheless, the artist works at the edge of the impossible, trying to rally the consumer into becoming a revolutionary.

Print as acts of solidarity

Artists at the end of the 19th century worked in woodcuts and etchings walked in solidarity alongside displaced craftspeople and workers from France to Belgium. Cottage industries slowly succumbed to mass production during the ong Depression of 1873-96. The artwork played a key journalistic role in the crisis by portraying the unemployed and uprooted by capitalism and its malfunctioning. Choice of the woodcut relief and engraving as well as some intaglio print, the multiple was a political positioning. In these images, the grandiose ambitions of a nation were contradicted by lives wounded through the loss of family and sustenance. Print communicated the voices of the masses through individual artists’ empathetic connection. Their images, especially those by Daumier, witnessed seismic changes at the time. A century later, the 1960s shook with equally paradigmatic shifts throughout society. In Europe and the USA, as well as in Japan - writers and students who were part of widespread protest movements recaptured silkscreen. The Black Panthers used art to extend their struggle for change for the African–American civil liberty movement because it linked „power, economics and culture (Kelly, 1984: 12). Emory Douglas, an African-American, held the post as Minister of Culture for The Black Panthers and produced their graphic art posters and newspaper. His work portrayed the disenfranchised as protagonists in style branded ‘militant-chic’ by Jessica Werner Zack. The era of protest brought forth an explosion of politicized agitprop and artishock with the image active in the public realm. Protest movements used silkscreen posters and fanzines strategically, giving a visual identity to the 1968 Paris uprisings, through to student protests in Japan and Eastern Europe, early Feminism, campaigns against the Vietnam and Korean wars, nuclear disarmament campaigns of the 1980s. Community art print shops favoured silkscreen, early copy-machines, and crude offset. Outside the institutions, speed was of the essence, when community print shops produced prints responding to turns in the political battle. Atelier Populaire occupied Paris Academy of Art and taught 3000 citizens in a few days– from office workers to bakers, to make screen-print protest posters.

18 Rewind the Revolution

2018 marked the 50th anniversary of May 1968 when not outright revolutionary but cooperative print-shops spread through ondon. In the spirit of an Atelier Populaire, can we rewind a revolution to radically re-imagine printing a hopeful future together? Print around the world keeps the revolution alive because shaping utopia is an open-ended, cooperative process. Beuys’ 1978 Appeal for an Alternative addressed a crisis of consciousness and meaning. He called for change through creative initiatives addressing the overproduction of goods, and to break, as Vaneigm wrote in the Revolution of the Everyday that „alienation and spectacular passivity are the „major accomplishments of modern affluence in an almost wholly administrated society. Beuys also said that „everyone is an artist. In this case, everyone was and is a printmaker. The struggle continues. It is time for a revolution: bringing back the human. And the Planet, by print.

Solidarity

Initially, I made collaborative prints about human rights. SOIDARITY explored the human right to sustenance, working in the vein of the French and Belgium artists who at the end of the 19th century working in woodcuts and etchings walked in solidarity alongside displaced craftspeople and workers. Together with Dutch school teenagers and through the foundation Freedomhouse Art set up together with the legendary Godmother of Print Protest- Iris de eeuw- we printed in Solidarity. We developed screen-prints hands-on and through social media with and the Cisaura refugee-camp school in Indonesia on hunger defining solidarity through cooking each other’s food by exchanging recipes. Here, the encounter was the engagement with a refugee’s precarious life. Cisuara students were fascinated by the wealth of the Dutch School which was in fact, an ordinary state-run institution. The Dutch students developed gratitude over having enough to eat. Eating and not making wasting food became a daily act of solidarity.

The Longest Print

Bess Frimodig, „The ongest Print,frottage on Mulberry paper scroll 33.3 meters long.

Food industry links Holland’s prosperity with history. Trading spices and coffee, Holland was once a wealthy colonial empire built on the backs of slaves.

19 Working with De eeuw and Freedomhouse Art, we shaped a complex and multi-layered project around freedom and the Dutch past as a slave trading nature. My print intervention, inviting the public to print on the spot, The ongest Print rolled out a paper scroll on the streets of Middelburg. I wanted to show that each cobblestone represented a slave traded. Strangers bent down to ink up the road. One man denied that Middelburg’s wealth was based on slavery, but retracted and said: „Yes, at least 27.000 slaves were traded by Middelburg merchants. This was a micro-revolutionary moment- a change in his take on history.

Four Freedoms Fanzine

Such tiny shifts in raising consciousness are rewarding, but at times, the frustration of changing the world one print at the time rises painfully to the surface. Near the Arctic, Karen Helga Maursteig and I printed together, with unaccompanied and underage refugees, a FOUR FREEDOMS FANZINE, building on the work done with Iris De eeuw, about displacement and supported by the Norwegian Department of Immigration. Not sharing a language, the teenagers communicated through images printing with wood type and found objects. Halfway through the session, it felt futile to harp on about freedom. All we offered was a moment of distracted play. Some of the boys, having turned 18, were about to be deported. They had exiled for six years or more from their homes. Next day they were to be sent back to their supposed countries and an uncertain future without any support. Instead of Freedom, they printed the words: ove, Mother, and Mountains. oss and Norwegian mountains had been their reality and the view outside the windows for years. Unknown, „HABTOM,Four Freedoms Still haunted by this Fanzine: Print spells Mother. workshop, the outcome of FOUR FREEDOMS FANZINE questions the agency of my practice. Another strategy is required, one which reverberates further into society. Something which extends, politically, the definition as well as the agency of the fine art print.

20 Bess Frimodig, „Eat Drink Shit Norway, installation, 5 x 7 m, Japanese woodcut, Kozo, paper trash.

Eat Drink Shit Norway

I had to get my hands dirty by something more than ink. For my next major work- EAT, DRINK, SHIT NORWAY- at Förde Museum of Modern Art, I collected coffee cups digging through trash bins at an exhibition centre showing vintage cars. Fishing up the saliva rimmed cups was a sticky and embarrassing labour in full view of the car-loving audience. In doing so, I drew attention to those disposable paper cups that are lined with a thin plastic film are almost impossible to recycle. More inspired by the plastics than the Norwegian fjords I saw that nature has become another consumable and pretty picture on a paper cup. If the audience becomes co-producers through such preparatory activities, in this case helping me with collecting used coffee cups, people begin to build emotional expectations. They start to imagine and anticipate the completed work, and makes in the end, a more dynamic public

Bess Frimodig, „Eat Drink Shit Norway, installation, 5 x 7m, Japanese woodcut, Kozo, used paper cup.

EAT, DRINK, SHIT NORWAY finally grew into a 5 by a 7-meter print installation of toilet roll waterfalls, where a mountain range rose out of coffee cups.

21 Extending the investigation of nano-plastics led to two further public works: SOI IS THE SKIN OF THE PANET and NOTHING IS EVERYTHING together with Gallery Estesio and the Swedish Open University on how we breathe, drink and eat plastics by our dependency on single-use food packaging and pervasive plastics. Working with the public, washing food packaging and preparing woodcuts, a shared discussion expands around these biggest threats to maritime health. To support the harmony of life, print as a process operates a site of political intervention. To act holds power. Combining print with working community relationships, I instigated a project together with Dr Anna Febrero- Ribas working with the NHS (the English National Health Service) called SIX SENSES GARDEN, renamed in its second year to a SEED Project. It was an interdisciplinary, participatory art and gardening project which forms a part of a broader programme of arts and health activities. Commissioned and facilitated by Kentish Town Improvement Fund and Free Space Project it was directed together by Melissa Hardwick. A popular vote selected SIX SENSES GARDEN through the Tesco’s Bags for social enterprise scheme. Project participants were service users of Kentish Town Health Centre as well as people living locally. Throughout the project, it has emerged that the participants struggled with issues such as long-term unemployment, chronic illness, agoraphobia, depression, anxiety, isolation, and panic attacks. Some had experienced homelessness, and others grappled with uncertain housing situations pending court cases. Attending weekly sessions, they maintained a sustainable edible garden and made prints examining nature, stress, money systems and diversity. Six Senses Garden has developed into a laboratory and atelier. Printmaking was the primary medium. One participant said that „Plants is art. When looking at them in the microscope, you see the textures that you can turn into a print. What is hidden is beautiful, you see that in the microscope. Art and biology show that nature has all the answers. The garden is our printmaking studio and growing space for ideas and community which anchors the revolution. It becomes both a method and a metaphor for the project and its evolving „studies. Abandon a garden and it dies. Plant a seed, and the planter becomes committed, to return in expectation of what will grow. Cut a stencil and someone wants to print it. A printmaking garden does what Beuys suggested: it includes the entire process of living- thoughts, actions, relationships, conversations, and plants: it is a living studio space used where the ultimate act of creativity is to re-invent oneself through curiosity towards meaningful participation in everyday life. We all become artists and printmakers. Gardening, food growing, and print as activism can be a driving agent of change because food sits in-between ecology and community. Using food and money as the central theme places the revolution in the everyday. Three years into the project, we decided to illustrate and write a cookbook: The onely Aubergine: Eating Better Together, doctors, patients and staff worked together with Dr Jane Myat at Caversham GP practice and their garden, the istening Space, with the James Wigg GP Practice and a Barcelona chef Jordi Herrera and his Michelin star restaurant. Self-funded, the cookbook combines prints by participants and my own resulting in a fully scented limited

22 edition as well as the mainstream version of funding Bite Size Recipe Books for community cooking. The limited edition with images printed and inked with saffron, turmeric, spices, pomegranate seed, and anthotypes developed by blueberry and vodka. Royalties collected from the sales raise money toward setting up groups for isolated people or gang members to cook and eat together in Camden.

Seed Money

SEED Project Patient group „SeedMoney, linocut on Washi.

Continuing to work with the NHS, I shaped a three-month programme called SEED around our relationship to money. Speakers talked about economic systems, ranging from shadow banking, citizens’ salary, and the history of money. We printed SEED MONEY, deciding to create our own currency to study economic systems, capitalism and alternative economies. After all, what is money, but a steel engraving, and a piece of paper? SEED Money was printed with nontoxic homemade spice inks, seeds and planted the prints. Our ideas grew tall. Using print as a vehicle, I grab at the social structure, seeking to reveal underlying systems that when scrutinised reveal themselves to be run on hysteria, short-term thinking and organised insanities such as the current financial markets of short term gains or the euphemism of food fear titled clean eating by the food industry. Artwork must be so much part of everyday life that it cannot be separated from the experience of an ordinary day. Using a form of print, such as illustrations for a cookbook appears so commonplace that they are not perceived to be art objects- although the process is that of participatory art. A cookbook, with the possibility of never-ending exchanges on food and eating, is a powerful vehicle and the ultimate gesamtkunstwerk. Virtual connectivity replaces authentic relationships, creativity and craft found in analogue printmaking. Activated print then works to combat social ills such as the epidemic of loneliness in a ondon fed by hyperconnectivity and run by smartphone zombies. Power of contemporary art, therefore, arises from every day, drawing on the commute plastered by illusions and consumer dreams, the perplexity of advertising, the social media and Instagram images of eating rather than cooking. Beuys might have said that only cooperation exists. Printing together, disregarding the ego which acts paramount on the advertised lives of social media and selfies, a shared print starts from building relationships, without making work waiting for instruction, permission to act or to be being able. On a practical basis, to convince people becoming co-producers, a series of

23 preparatory activities build expectations, such as planning the final project together. Meetings and these activities build emotional expectations. Using low cost and found materials remove pressure around ability. It is imperative to remove any anxiety around making images to engage in the process and creative risk-taking. Therefore, I use the immediate and low-cost techniques of stencils, gelatine print, or nature printing. One participant said that she had never been good at arts, but by not worrying about the cost of the materials she felt free to both succeed or fail and that „both outcomes were OK. People start to imagine together and to anticipate the completed work, which in the end makes for a more dynamic public. Their print has become ours, and not mine. This takes time to prepare. The planning of the complex project, its diagrams, and flowchart and ephemera such as fliers and postcards become the schema of the project, later reverting to institutions and presentations such as conferences or in galleries. Even mistakes, what did not work out and the failures form the art of the whole print project- the SEED Money garden, the cookbook or the ongest print. Funders, nay-sayers, and bureaucrats become unwitting participants. Those who object to the project are part of the work and end up in print, in a book or a catalogue telling the story of the project. Supported by evaluation and documentation by critics and filmmakers, the whole process becomes the show. In this, am I the artist-producer or the witness to cooperation? The process to make it happen is my art, and here is where the ego comes into play, to drive through the visions to completion by tenacity. The ultimate end of a project, is a shift in ideas and attitudes, into a sense of interdependency which lies at life between humans and the planet, animals, and plants. The artwork functions as a classroom for the public at large, on the streets and inside the institutions. Print, in all its fine art and commercial forms, is elastic, and can be imbued with a sense of movement which is „to be the principle of resurrection, transforming the old structure which dies or stagnates, into a vibrant, life-enhancing and soul- and spirit- promoting form. (1994, Beuys in Adraini, Konnerzt, Thomas pg. 58). Treating print, both the fine art image and the commercially produced ephemera, as a process and elastic theatre, self-expression does not disappear with the Ultimate Socially Engaged Print. It extends the definition of the print. earning from all these projects and William Blake, who says „I must create a system, or be enslaved by another man’s. I will not reason and compare: my business is to create, I established the collaborative, site-oriented GOFAPP / SIX SENSES GARDEN NOMADIC INSTITUTE with the plant scientist Dr Anna Febrero of the University of Barcelona and Rubio Horticultural School. SIX SENSES GARDEN NOMADIC INSTITUTE projects are situated in the interactive space between print, science, and community with a methodology responding to a complex and fragmented society. This nomadic institute offers an alternative, interdisciplinary pedagogic system based on the advancement of creativity focused on direct experience to grapple with the complex and multifaceted ways of society and nature. GOFAPP/SIX SENSES GARDEN NOMADIC INSTITUTE struggles with balance within a late capitalistic world which organises work modes and

24 leisure time awash with a flood of images that overwhelms and disables abstract and philosophical thinking by leaving no space for the viewer to interject imagination. Excited by filters augmenting technicolour tones and life as advertisement, viewing becomes an addiction instead of participation. Withstanding the barrage, citizens need to envision new models of existence. While social media streamlines emotions SIX SENSES GARDEN NOMADIC INSTITUTE proposes dialogues by its prints and processes to demonstrate plurality, ambiguity, and uncertainty through a collaborative, transitory, disruptive, critical and oppositional art making against a uniform and standardised culture. The consumer becomes a citizen-printmaker, hopefully recognizing her powers as social powers. 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). The revolution stops capitalized time and people become creators and planters. When air, water, and soil are commodified, sharing SEEDS and ideas become political acts. Print is the spectacle, the subject, and the meaning. Beuys said: „I wish to go more and more outside to be among the problems of nature and problems of human beings in their working places. This will be a regenerative activity; it will be a therapy for all the problems we are standing before. The revolution in print sends its luminous, tactile lines throughout society in a rhizome structure of roots.

Bess Frimodig with Amos Kennedy and Iris De eeuw, printing freedom, and selling it for free with the public on the square in Middlebur

With GOFAPP/SIX SENSES GARDEN NOMADIC INSTITUTE I weave a web of relationships and ideas. Art is transformation through direction. It is not only construction. Art is first and foremost an idea and ways to think through and in forms and images. Ultimately, it is by vision a change of thought, driven by process manifests in print as a temporal outcome, while the idea resonates. When we, the non-artist and the artist become creative in the formation of our own lives, the need to make art or images for a gallery disappears. It is; therefore, that print belongs to everyone

25 Reference: Ali, T. (2008), „Where has all the rage gone, The Guardian, 22 March, Weekend. Amsterdam Declaration of Human Rights (1952) International and Ethical Union (online). Retrieved last time on 14 February 2013, from: http://iheu.org/humanism/the-amsterdam-declaration/ Ascherson, N. (1991), Shock to the system: Social and Political issues in recent British Art. ondon: Arts Council Collection. Vienet, Rene (1968, 1992 version), Enrages and Situationists in the Occupation Movement, France, May 1968, Rebel Press ondon/Autonomedia, NY Berger, J. (1979), Art and Revolution, Worthing: ittlehampton Book Services td. Bloch, E. (1977), Aesthetics and Politics, ondon: Verso. Brent Council (2009), Wall of Resistance, Travelling exhibition held at Willesden Community Centres and throughout the UK, ondon, Brent Council City Hall, 25 January 2009. [Call for Entry Competition] Buchan, J. (1998), Frozen Desire, An Inquiry into the meaning of Money. ondon: Picador. Carey, J. (2010), What good are the arts?, New York: Oxford University Press Clements, Paul. (2007), The Evaluation of Community Arts Projects and the problems with Social Impact Methodology, International Journal of Art & Design Education. Vol 26 (October 2007), pp.325–335. Cork, R. (1979), Art and Social Use, ondon: Gordon Fraser Gallery. Debord, G. (1967), Society of the Spectacle, 2010 ed. Oakland: AK Press. Dissanayke, E. (1998), What is Art for?, Seattle: University of Washington. Dutch Foreign Ministry (2013), Speak Truth to Power, International Conference with and about Human right defenders with The Dutch Ministry of Foreign Affairs, Justitia et Pax and Human Security Collective, Programme, The Hague, 20 -22 January 2013. Felshin, N. (1994), But is it Art? The spirit of art as activism, Washington: Bay Press. Ford, R. (2009), Hidden Impact, Exhibition held throughout Bristol public spaces and Spike Island Print Studio, Call for entry form, September 2009. Frimodig, B. (2008), „Silent Witnesses: Artists’ prints and Europe in conflict: biographies of the nameless, European Sociological Association Conference Performing Biographies - memory and the art of interpretation, Cracow, 12-14 December 2008. Cracow University. Gervereau, ., Fromanger, G. . (1998), „’atelier populaire de l’ex-Ecole des Beaux-Arts Entretien avec Gérard Fromanger in:Gervereau L. Matériaux pour l’histoire de notre temps. Les mouvements étudiants en France et dans le monde 1988, N. 11-13(Mai-68), pp.184-191. Retrieved last time on 19 October 2014, from: url:/web/revues/home/prescript/article/mat_0769-3206_1988_num_11_1_403852/ Graef, R. (2001), Including the Arts: The Route to Basic and Key Skills in Prisons, Warrington: Bar None Books and New eaf Press. Kelly, O. (1984), Community, Art and the State: Storming the citadels, ondon: Comedia Publishing Group. Mueller-White, . (2002), Printmaking as Therapy: Frameworks for Freedom, ondon: Jessica Kingsley Publishing. Nieuwenhuijs, C. (1948), Manifesto, translated by eonard Bright. Retrieved last time on 26 March 2014, from: http://www.cddc.vt.edu/sionline/presitu/manifesto.html/ Norman, R. (2004), On Humanism. Thinking in Action, ondon and New York: Routledge. Rockmore, T. (2002), Art, truth and social responsibility, Sanart Symposium Yearbook of Aesthetics. Vol 12 (2008).

26 Roosevelt Review (2010), Middelburg: University College Roosevelt. Sagan, O., Frimodig, B. and Candela, E. (2011), „Insight on OutReach: Towards a critical practice, in Bhagat, D. and O’Neill, P.: Inclusive Practices, Inclusive Pedagogies: Learning from Widening Participation Research in Art and Design Higher Education. Brighton: CHEAD. Shahn, B. (1949), An Artist’s Credo, College Art Journal. Vol.9, pp.43-45. Shikes, R.E. (1969), The indignant eye: the Artist as a social critic in prints and drawings from the 15th century to Picasso, Boston: Beacon Press. Vienet, R. (1968), Enrages and Situationists in the Occupation Movement, France, May 1968.1992 ed. New York and ondon: Rebel Press/Autonomedia. Vaneigem, R. (1963-1965), The Revolution of Everyday. Retrieved last time on 15 January 2014, from: http://theanarchistlibrary.org/library/raoul-vaneigem-the-revolution-of-everyday-life York, H. (1986), Bob Blackburn and the Printmaking Workshop, Black American iterature Forum Vol.20 (1/2), pp.81-95.

27 COLLAGRAPHY – EXPERIMENTS IN PRINTMAKING

Ivana I. Flegar1 University of Arts in Belgrade Faculty of Applied Arts

Abstract: Experimental methods are being frequently used in making a printing plate. New technologies have shifted the same plate from material to digital world. Printing is done on many different surfaces which have not been used before. Research and experimentation in collagraphy have shown that printmaking can retain some of its traditional values and still be able to expand and transform. The need for wider acceptance of collagraphy arises from the need to experiment with many different materials which are easily obtained from our surroundings. It also follows the need to adapt to modern way of life which has grown faster in recent years, leaving us less and less time for ourselves and our creativity. Collagraphy allows substantially faster making of the printing plates, and it can be done by using non-toxic materials. The goal is to make printmaking easier, as well as to simplify certain procedures in making of the plate. This paper describes the results and experiences in making printing forms that are obtained using non-standard materials. The plate can be made from anything that surrounds us. This can make printmaking easier to understand for beginners and cheaper to work with for constant practitioners. Key words: collagraphy, collage, manual printing, print making, non-toxic.

Introduction „It is that energy and enthusiasm that will keep printmaking thriving and surviving. (Fishpool, 2009: 134)

The plate, traditionally speaking, is the element from which the color is being transferred to the paper. The plate is made of the printing and non-printing surfaces. Depending on the type of the printing surfaces there are: 1. Relief printing, where ink is applied to the raised surface of the plate; relief techniques include woodcut, linocut and metalcut; 2. Intaglio printing, where ink is applied beneath the original surface of the plate; intaglio techniques include engraving, etching, mezzotint, aquatint,etc; 3. Planographic printing, where the plate retains its original surface, but is specially prepared and/or inked to allow for the transfer of the image; planographic techniques include lithography, monotyping, and digital techniques. Plates can be made using mechanical, chemical and photo-mechanical methods. As a base for the making of the traditional plate we can use stone, wood, thin metal slabs, and in the recent times, linoleum. When artists started to use varnish for making the brighter parts on the plate in linograving, the door was open for experimentation. In the course of historical development, printmaking, in one part, has always sought to simplify the process of reproduction. Also, the interaction of traditional and new achievements has always made it extremely interesting for the artists.

1 [email protected]

28 The aim of this research was to explore the possibilities that collagraphy allows in the textural field. The inspiration for this work is our everyday environment, the material world. We live in the world which constantly brings us new achievements through people who create and invent. Artist is a part of that world and s/he must strive to incorporate new achievements in her/his spiritual and artistic life. The use of modern, day-to-day materials for the creation of a plate aims for harmonization of printmaking with modern way of life, but with preservation of traditional values at the same time. The idea is to keep plate in material existence and to nurture the legacy of EDITION. Also, one of the goals was to reduce the toxicity of printmaking to the smallest level, as well as simplify the process of creating the plate itself. Collagraphy has proven to be ideal for beginners and children of school age. It provides an easy way of understanding the printing process. It is also recommended to already experienced printmakers who have mastered traditional techniques. It can help them to achieve wonderful textures in an easy and fast way.

Terminology

Collagraphy is a relatively new technique in which the printing surface is made by fastening (most often gluing) various materials on the base. Essentially, a print is created from a collection of texture materials that have been collaged onto a rigid surface. The prepared plate can be printed using a relief, intaglio or combination of both printing methods. It can also be printed without color in the technique of "blind druck". Collagraphy got its name thanks to professor Glen Alps in the 1950s. He was one of the most responsible artists for the development of this technique. Collagraphy is known by other names, such as collage printing, and is sometimes spelled collography. I think that the term Collagraphy best describes this technique because the word is derived from the Greek word κόλλα, meaning glue, and грапхеин, meaning the activity of drawing. The word κόλλα is also in the root of the word collage. In other languages it is also spelled collagraphy, for example: French - collagraphie, Russian - коллаграфия, German - collagraphie... It seems to me that the name колографија (in the Serbian language) is incorrectly formed, and that it is our obligation to draw attention and correct that mistake – it is колаграфија.

Origin and development

It is quite difficult to determine the origin of collagraph because more than one artist worked with similar ideas and material at the same time. Elements of collagraphy can be found on plates from the 19th century. They indicate the addition of adhesives to zinc and copper plates. At the beginning of the 20th century, the development of collage as an art form led to the idea that different objects can be attached on the plate and then printed, in order to obtain various textures.

29 In Europe, at the end of the XIX and beginning of the XX century, movements such as Cubism, Expressionism, Surrealism, Constructivism, Dadaism, Bauhaus appeared. These were the routes that paved the way for artistic freedom by encouraged experimentation. Pablo Picasso, George Brack, Juan Gris, Paul Klee, ászló Moholy-Nagy, Kurt Schwitters and others, experimented with collage and assemblage. They used collage and „ready made objects. Printmaker Rolf Nesch2 (1893-1975) can be considered one of the pioneers in collagraphy. He experimented with layers on the printing plates. He was the first to apply the collagraph concept to his work. He developed what he called „metal print or „material painting in 1932. With the increasing spread of Nazism, a large number of European artists, especially Germans, emigrated to the United States, so New York, in the 1940s, replaced Paris and became the center of art. Artists experimented in printmaking. This resulted in forming a technique that we now call collagraphy. Contribution for developing of this technique has much to do with the invention of a new, strong, quick-drying, water-based adhesives. Most deserving artist for the development of collagraph is the American artist Glen Alps3. Alps made collagraphy his primary artistic technique. He actively worked on the expansion of this technique in his long career as an artist and professor. Collagraphy as a new and experimental technique could not bypass the printmakers of this region. Publications and lectures by John Ross (1921- professor emeritus at the Manhattan College) and Claire Romano Ross (1922-2017) contributed to its expansion on the territory of Great Britain, Romania and the former SFRJ (Brenda, H. & Richard, C., 2012: 10). jiljana Ćinkul (Ćinkul, 1998) writes that in the development of collagraph, Dan Allison, (1954-), an American artist, contributed significantly to development of this technique in early 1990s.4

Necessary material

Just like in classic printmaking techniques, for the collograph we need: - Tray for mixing of colors; - Rollers; - Chisels for liners;

2 Rolf Nesch (1893 - 1975), a German expressionist who, in 1933, after Hitler came to power, emigrated from Germany to Norway and got his citizenship in 1946. He is especially famous for his prints. 3 Glen Alps (1914 - 1996) graduated from the Washington University of Seattle where he, later, worked. Since 1956, he used the term collagraph in naming of this technique. 4 In 1987, he took part in the 17th International Biennial of Graphics in jubljana, where he won the Grand Prix. In 1989, he was a guest of the VIII graphic studio in the National Museum and department of graphics on FU in Belgrade. One year later he had solo exhibitions at the National Museum in Belgrade, Sarajevo, Titograd and Banja uka. arge-format collagraphs have been displayed. This technique, very popular in the USA in the 1980s, was quickly accepted by our artists.

30 - Engraving needle; - Spats of different widths; - Brushes; - inseed oil; - Fine baby powder; - Printing colors; - Scalpels, scissors and other blades of various profiles; - Office Supplies; - Medical gasoline or petroleum for cleaning and washing.

The intention of this research is to eliminate as many toxic substances as possible. Nitric and ferric chloric acids were removed from use in collagraphy. Nitro lacquer is a thing of the past as well as a nitro diluent. Oily thinner can only be used for washing tools, if needed. Colophony (rosin), which is an essential part of aquatint, is also not needed. The same goes for bitumen (asphalt). Since we have removed some key elements, we have to replace them with something else. For collagraph, it is necessary to have the following non-standard printing materials: - Snopake or similar – Paper adhesive 2 in 1. - Presto – Spray adhesive. - Interfix – Good for gluing extremely sensitive materials. - Drvofix – Ready for use; does not have to be diluted. - COO Acrylic lacquer for wood – Eco-friendly product, odorless, UV and moisture resistant. - Čarolin „ussolac – One-component polish. It has a high degree of elasticity and hardness. - Helios Zvezda polish for boats – Colorless polish of high gloss that protects against water and atmospheric influences. - Aquamax – It has excellent coating power. It is resistant to atmospheric influences and UV radiation. It's practically odorless. It is produced in white color in high gloss, semi gloss and matte. - Aquamax impregnant – Transparent impregnation for wood based on aqueous dispersion of acrylic binders. - Polyester wood filler – Provides exceptional dimensional stability without the risk of subsequent ruptures or removals. It serves to fill unwanted holes and spacing between surfaces. - Acrylic putty – White, acrylic construction kit for filling the holes. It dries quickly; it can be easily engraved. - Moment universal – Extremely strong adhesive for absorbent and non-absorbent surfaces. - Acrylic spray varnishes.

When we equip the studio with the necessary material, we can begin to discover the materials that will be used in the process of making the plate. I deliberately use the word "discover" because it best describes the process of collecting materials that will be glued or attached, in some other way, to the

31 base of the plate. It is a process of awakening. We look at materials that surround us in a different way.

Collagraph plate

Collagraph plate is easy to make since this medium is suitable for all ages and degrees of education. Children can safely construct the plate, color and print it without major health hazards. A professional printmaker can use this technique to produce complex tonal and texture surfaces. In order to make the plate, you need to carefully choose the base, determine the best method for attaching materials on that base and find the correct material with adequate texture. After doing all that, when everything is ready and the glue is dried you need to make a protective layer in order for the plate to withstand printing of full edition.

Base (foundation)

As a base we can use any flat surface material, from cardbord, linoleum to metal plates. Most important thing is for the base to widstand the pressure of the press without deforming or bending. It has to hold firmly the material that is attached to it. The texture material that is going to be attached determins the base material. Its durability depends on careful selection of the used materials.

The random selection of existing materials includes: - Cardboard5 – the ideal material for the base. It is easy to find, it is affordable, well absorbent and easy to format. The pressure on the printing press is approximate to the pressure for printing the linocut. - Wood – As a base it is possible to use thin wooden boards and plate materials (panel plywood, etc.). Their thickness should not exceed 4-5 mm. - Metal plates – Steel, zinc, aluminum and copper plates can be used as the base of the collagraphy plate. These materials are more expensive and can’t be easily cut. Some training is required and therefore it is not suitable for younger age groups. - Technical Plastic – It is suitable because it can be easily cleaned without fear that it will be damaged, for example, with oil thinner. This is especially good if you are doing multiple test prints with longer pauses between the prints. - Linoleum, rubber, floor coverings – They come in various textures. - Photolithography boards – Offset printing plates.

5 Cardboard is a generic term for heavy-duty paper-based products that have greater thickness and superior durability or other specific mechanical attributes to paper; such as fundability, rigidity and impact resistance. The construction can range from a thick sheet known as paperboard to corrugated fiberboard which is made of multiple corrugated and flat layers. A special kind of multilayer cardboard weighing more than 600 gr/m². There are two types: straight and wavy.

32 Making of the plate

For attaching materials to the plate we can use several diferent methods: - Gluing – The bonding of the materials should be permanent, flexible, solvent-resistant (because of the cleaning), and sufficiently waterproof to resist moisture that can be transmitted from the printing paper. - Shellac – Can be used as adhesive as well as finishing coating. The collagraph plate should be protected before printing, preferably coating on both sides, if the cardboard plate is the base. Some materials can be protected with only one coating of shellac or varnish, while others require coating of several layers. Some materials are, in themselves, sufficiently resistant and the coating is just a preventive measure of protection. - Soldering – Soldering is a process by which metallic or non-metallic parts merge by melted additional material into an inseparable whole. - Riveting – Rivet is a metal pin for passing through holes in two or more plates or pieces to hold them together, usually made with a head at one end, the other end being hammered into a head after insertion. - Welding – Welding is the joining of two or more homogeneous or various materials, by melting or pressing. It can be done with or without the use of additional material, in such a way as to obtain a homogeneous welded joint.

For the basis of the collagraph plate, the selected materials can be attached by immersion in freshly prepared plaster, slurry, abrasive kit, etc.

Materials that are attached to the base

Materials should not be too thick (they can tear the paper) or have sharp edges (they can damage the press). The materials can be of different thickness, they can have different surfaces and textures. Different materials can be attached to the same base.

Examples

Paper and cardboard – They are produced in a lot of textural variations and are easily accessible. They are extremely grateful for cutting, shaping and gluing. They absorb easily and dry quickly. These materials are very easy to print and to clean. This allows the plate to be used repeatedly with a result that is of consistent quality (the edition does not have to be printed at once, but can be printed as needed, with pause in between).

33 Styrofoam, sponge, soft rubber... Materials that remain well attached to the substrate. If they do separate, this separation does not occur on the joints but in the very structure of the adhesive material. It is not good to use strong adhesives since they can damage the attached material. As a protection it is best to use water-based varnishes in several thin layers. Prior to making a proof print and applying of color, the plate should be pulled through the press which is fitted for printing (adequate pressure) in order for attached materials to stabilize themselves and gain fixed position. These materials can be sensitive and should be carefully cleaned after printing. They do not allow a large number of breaks between printings because they are easily damaged by cleaning. They have showed good results in the technique of relief printing. In intaglio they tend to retain much color when there is a greater difference in the depth of the surface. The process of removing the excess color is not easy and if it is not done correctly it can make blots on the paper when printed.

Fabrics – Another material that can be found in a large number of easily accessible, different textures. Adhesive is selected depending on the sensitivity and thickness of the fabric. They are very stable when they are well glued and impregnated. They should be lacquered in several layers as they have highly absorbing properties. They can have great differences in the surface depth, so it is recommended to level them using the fillers. If this is not done, the paper will not be able to bend enough and transfer the color. Those parts of the print can look unpleasantly white. Extremely sensitive materials, such as lace, are easily damaged and can’t be cleaned and printed repeatedly, with pauses between printing. With other materials, it can be difficult to remove color (e.g. woven materials), so the tiny dents, with each cleaning, are being filled more and more with color which, when dry, makes that part of the print brighter.

34 Plant materials – We can also use materials taken directly from nature, for example corn, grated potatoes, shredded coconut ... They can by dried before attaching or not. When dried, it has to be attached to strong surface because it is very brittle. It has to be well coated with a lacquer so that it can provide additional protection and increase durability. If a leaf is used (for example, kale), it can be coated with Shellac in a fresh state, without drying. In time it will lose its green color and dry, but, if it is well impregnated, it will not grow moldy.

Building material – This implies to a variety of different materials that are used in construction (framings, floorings, wires, nets, linings…). Depending on the strength and material from which it is made, most of them can be printed without additional protection and preliminary preparation. Most of them are resistant to atmospheric influences and, in itself, quite durable, so color and various solvents can be applied directly. They are ideal for all types of printing and are extremely easy to clean.

35 Household objects – Parts of broken devices, different mats, buttons, toilet paper, toothpicks, coins, staples, etc. The only important thing to pay attention to is their thickness. If it can pass under the press roller, it can also be printed. It also is important that material does not have sharp parts or edges that can damage the foundation or roller. Some materials are good for intaglio printing, (for example, base for TV remote control), but it is not adequate for relief printing technique.

Sandstones, sand, zeolite, glitter – Materials that can easily simulate tones provided by aquatint. You can make bright, subtle tones by using spray adhesive all the way to the deep, dark tones that can be obtained with the aid of a strong sandpaper or just sand glued to the surface. You have to be careful with sandpaper and avoid those with the roughest structure. It can be wary difficult to sweep excess color from that kind of surface. When the mixture of adhesive and selected material is dried, it is mandatory to apply the coating with a colorless lacquer. You can also mix sand with a white lacquer on the acrylic base and, as a blend, apply on a plate.

36 Feather, fur, threads – These materials are quite sensitive and demanding for printing. It's best to sink it entirely into Shellac. After the first dipping, while the shellac has not yet dried, we can shape it as desired and glue it on to the surface. These materials are a bit more complicated for printing, as a certain level of skill is required when tinting and applying color. The material can be clogged easily. For cleaning, it is recommended, firstly, to take out the excess color with the newspapers by pulling them, along with the plate, through the press until the color stops transferring to that newspaper. The remaining color can be removed using only wet wipes.

Egg shells, nuts, seeds, dried dye, etc. – These materials should be glued with a strong adhesive so that they do not move during additional cracking after the first passage through printing press. Prior to impregnation, it is good to pull the plate through the adequate pressure on the press in order for materials to take on the final position. It is recommended to use a filter to level the plate if the need arises.

37 Metallic or plastic nets and colanders, etc. – Materials which are easy to handle if a stronger adhesive is used. If there is no pause between the printouts, if everything is printed in a sequence, it does not need to be lacquered. Otherwise, it is advisable to protect the surface of the materials (plastic for easier cleaning and metal due to oxidation and corrosion).

Pads – These materials are mainly made of plastic, cork material or paper. Plastic pads do not need to be fixed to the substrate nor lacquered. They are very good for relief printing, but have to be tested separately for intaglio technique. The quality of the print depends on the difference in levels on the plate. If it varies greatly, the use of fillers might be needed. If the pad is made of paper, it is necessary for it to be attached to the base and be impregnated with multi-layeredvarnishing.

Leather – Moment universal classic can be used for gluing leather. It is very convenient for this purpose, and it comes in different packaging.

38 It should be protected with lacquer layer before printing. The color is applied with ease. It is also easy to clean, which ensures consistent edition. For people who oppose using real leather, there is an artificial replacement.

Sacks, plastic bags, aluminum foils – Materials require certain training in order for a good plate to be made out of them. They are very sensitive and light, so it's difficult to shape them according to your wish. It is best to dip them in shellac and position them in the required shape before drying. They will contain that shape and it will be easier to attach them to the base. In some places the attached material makes little air pockets, which are best to be pierced and air to be let out. Parts with the air can move and make a different shape under pressure of the printing press. Cleaning of the plate also requires some experience, because every time the plate is left to dry, it becomes more clothed and a little firmer. It loses elasticity.

Cork material – I must admit that, of all the materials used in this resource, undisputed favorite is cork material. This material can easily be attached to any surface. If it has thickness of a couple of millimeters, it allows cutting with knifes for the technique of linocut. It can be engraved, toned or brightened with wood varnish. By itself, cork material has an extremely interesting texture. The only disadvantage is that it is harder to clean and with every pause in printing little color stays in the dents of the surface and, when dried, makes the plate little lighter in tone.

39 After finishing making of the plate, beginners are advised to varnish it with white color or white acrylic spray. This procedure makes it easier to apply and clean the plate. You can see how much paint is on the plate. It also serves as an additional protection. Before printing, it is very important that the plate is thoroughly dried so that the paper does not stick to the surface. Sometimes it takes a couple of days for complete drying.

Printing of the plate

Coloring

The process is the same as the printing of other, traditional techniques, such as dry point or aquatint on one end and linocut on the other. The difference is that it takes more time to apply the color. It is more difficult to remove excess color and more complicated to clean. This technique can retain more color than, for example, intaglio plate. This excess paint can, under pressure during the printing process, be pushed out and make smudges. For printing demanding textures, some experience and practice is required. Various sponges, rubber, nylon socks, paint brushes and other items can be used to apply the paint. It can also be applied with fingers. In the intaglio printing technique, the color must be thinned. I use color for offset printing, in which I add linseed oil and talc6. It is with a first test print that we see what is really on the plate. On this print it is clearly visible which parts are easier to color (so they require subtle wiping), or where a lot of color is retained (so it is necessary to „forcefully pull it out). In the process of coloring and removing the excess color from the plate, you need gauze, newspaper, and fleece paper. When you start removing excess color, first, remove the excess with the gauze (if the material has rough structure, this part can be skipped; it is not good for the gauze to be torn during the removal of color). The next step in removing the color is using newspaper. Finally, when only thin layer of color has remained on the plate, wiping should be continued with fleece paper. Fleece is ideal for subtle, final wiping.

Printing

The pressure is adjusted according to the thickness of the plate. It is necessary to slowly adjust the pressure, guided by the experience, so that the plate does not crack.

6 Flaxseed dilutes the color, but it also makes it greasy so it is necessary to add talcum or baby powder to absorb fat and simulate the pigment. This makes the plate easier to erase.

40 1. Relief printing: first the printing paper is placed on the foundation of the press, then a plate is placed on it. High printing does not leave embossment unless the artist, himself, wants that. In this case, the order of putting paper and then the plate, turns (plate and then paper). To print a linocut with flat background and uniform height, the printing blanket7 is not necessary, however, collagraph can’t be printed without it. If the blanket is not used, the paper can crawl because the pressure is unevenly transmitted. 2. Intaglio printing: the plate is first positioned on the foundation. Second is the printing paper, and then the blanket. The characteristic of the intaglio printing is the embossment that is visible on the back of the printing paper. Regardless of the method of printing used, the important thing is to be careful and maintain everything clean.

Storage

When printing is completed, the custom is for the plate to be destroyed, so that no valid print can be obtained from it. This is done by scratching the diagonal, drilling a hole and sometimes cutting the plate. However, if the entire edition is not printed, it is necessary to preserve the plate for additional printing. It is best to keep collagraph plate wrapped in thick paper, wrap it with tape and place between two cardboards in order to prevent bending. It is necessary to store plates in a dry room. Depending on the material, they can be preserved for a couple of years. In time, varnish begins to crack. Plates should be kept away from rodents and pets.

Conclusion

How do you define what print is? Where do you place the boundary? (Tala, 2008: 7)

These two questions best illustrate the position of graphics in contemporary art. It is an autonomous, methodologically established and technically formed discipline. It leaves more than enough space for interdisciplinary movements, for research in visual arts, as well as experimenting in linking traditional methods with new materials. It is flexible and always keeps up with technical and technological achievements. The aim of this study was to use new materials for making of the plate that is sufficiently durable to withstand printing of edition. The idea for this kind of work came from the need for simpler, faster and healthier manual printing. We live in a time that has accelerated so much that it leaves less and less free time for a modern man.

7 Printing requires a set of blankets. Etching felts are used in sets of three on the etching press, and provide the cushion that creates embossment by pressing the paper into the recesses of the plate. Each blanket serves a different purpose and is therefore a different thickness, and is either woven felt or pressed felt.

41 The most important thing is to communicate the idea. Why not use the materials that surround us and, with a little bit of improvement, reach the same goal. This paper aims at defining the nature of collagraph as a technique whose print is obtained from a plate that is made out of collage. The print is taken from the combination of different materials. Collagraph has all the conditions to become a stand-alone technique: - Plates are relatively easy to make; - Plates can hold a full edition; - It is suitable for relief and intaglio printing; - It is easily combined with other printmaking techniques; - It is easy to understand regardless of age or education.

Collagraph, in its essence, experiments with the making of the plate – this being the best recommendation for mastering this technique. Experiment, improve and learn from mistakes – collagraph in the hands of experienced practitioners works wonders with printmaking!

Reference: Adam, R. & Robertson, C. (2007). Intaglio. ondon: Thames & Hudson, 2007. Ćinkul, j. (1998). „Aktuelnosti u grafici dvadesetih godina, in Irina Subotić (ed.): Umetnost na kraju veka I, Clio, Belgrade, 1998. Retrived last time November 1st 2018, from: https://www.rastko.rs/likovne/xx_vek/ljiljana_cinkul.html Dictionary of Serbo-Croatian Literary and Folk Languages. (1981). Belgrade: Serbian Academy of Sciences and Arts. Fishpool, M. (2009). Hybrid Prints, printmaking handbook. ondon: A & C Black. Hartill, B. & Clarke, R. (2004). Collagraphs and mixed-media printmaking. ondon: Bloomsbury. Ross J. (1990). The Complete Printmaker: Techniques, Traditions, Innovations, New York: The Free Press. Tala, A. (2008). Installations & experimental printmaking, printmaking handbook. ondon: Bloomsbury. The California printmaker, the journal of the Californian society of printmaker. May, 2017. Vladimir, K. (1993). Tehnologija grafičkog obradu I. Beograd: Zavod za udžbenike i nastavna sredstva , Podgorica: Zavod za školstvo. Ward, G. W. R. (2008). The Grove Encyclopedia of Materials and Techniques in Art. Oxford University Press, 2008.

Webography: http://www.nesch.no/index.php?option=visartgru&id=5 https://en.wikipedia.org/wiki/Glen_Alps http://www.theartstory.org/artist-rauschenberg-robert.htm https://books.google.rs/books?id=mkJfbdTS--UC&pg

42 PRINT TECHNIQUES IN THE AGE POST-DIGITAL PRINTMAKING ELEMENTS FOR FURTHER DISCUSSION

Irena R. Kneževic1 Filip S. Misita Vladimir M. Rankovic Faculty of Philology and Arts University of Kragujevac, Serbia

Abstract: Post-digital printmaking is a general connotation that denotes hybrid use of analog printing techniques and digital technologies in printmaking art practices. It brings matrix back into the center of graphic practice, as it was put aside, in a way, with the use of computers. In the words of American authors, Angela Geary and Paul Catanese imply „experimental practice and interdisciplinary thinking – a radically contemporary space where emerging, ancient, new and old technologies co-evolve and intermingle”. Relying on the debates about printmaking techniques from the end of last century, especially on papers of Benoit Junod (the subtitle of this paper is adopted from him), and Bogdan Kršić published in „Exlibris Letopis”, this paper has a goal to point out at the changes that happened in graphic art at the end of the last and in the beginning of this century, and to set up certain guidelines that will contribute to a better understanding of the changes and possible directions of printmaking as an artistic practice in the future. The premise is that in the time of digital media the traditional division of printmaking techniques on relief printing, intaglio, planographic printing, and stenciling has become inadequate. This division was based on the printing technique. At the same time, production of the printing matrix implies a linear sequence of procedures, with the obligatory printing of such matrix in a certain way, where each deviation from the established sequence implies the establishment of the new technique. That kind of correlation between so-called primary and derivative techniques is manifested between etching and soft-ground etching, as well as between aquatint and sugar-lift etching. Furthermore, the deviation from the usual and expected way of printing, if noted, can be or is treated as a new technique. So, we can consider linocut as relief printing technique, linoengraving as intaglio printing technique from the matrix that is processed exactly the same, or, etching as intaglio printing technique and etching as relief printing technique. In order to make it easier to understand new printmaking techniques, one possibility is to have a double designation or label 1) matrix production technique and 2) printing technique whereby the first label would include the technique used to draw on lithographic limestone or metal plate if its algraphy. One of the possible new divisions is the one suggested by Geary and Catanese – analog, digital and post-digital printmaking. Regarding big and growing bigger role of digital technologies, even in the processes that have the oldest printing techniques at its core, it is realistic to assume that the post-digital printmaking will become the dominant form of contemporary printmaking practice. It is important to notice procedures that include the use of digital media in matrix production, where the final results are graphics printed in relief printing and intaglio printing techniques. Because of the divergence of the contemporary printmaking, it is expected that one word or short phrase won’t be enough to clearly denote the technique, most of the times. Printmaking art events that emphasize technical-technological aspect will certainly expect descriptive nomination of technique. Keywords: print, multioriginal, analog, digital, post-digital printmaking, systematization of printmaking techniques.

[email protected] 1

43 * * *

William M. Ivins Jr., the first curator of the department of prints at the Metropolitan Museum of Art in New York, in his book „Prints and Visual Communication, compared the reproduction of pictorial content by printing to a somewhat newer invention of printing by a movable type: „The printing of pictures […] unlike the printing of words from movable types, brought a completely new thing into existence – it made possible for the first time pictorial statements of a kind that could be exactly repeated, during the effective life of the printing surface. […] It is hardly too much to say that since the invention of writing there has been no more important invention than that of the exactly repeatable pictorial statement. This is followed by his key assertion – „Our failure to realize this comes in large measure from the change in the meaning and implications of the word ‘print’ during the last hundred years – which he thus clarifies: „For our great grandfathers, and for their fathers back in the Renaissance, prints were no more and no less than the only exactly repeatable pictorial statements they knew" (Ivins 1953: 2–3). There have doubtlessly been faster and more intense changes in the meaning and implications of the word „print since mid-twentieth century, when Ivins wrote about printmaking. Between 1979 and 1981 Branislav Makeš, professor of printmaking at the Faculty of Applied Arts in Belgrade, published series of texts in the journal of Yugoslavia Graphic Industry Workers under the joint title „Stories about printmaking. Makeš wrote: „Print is […] all that is multiplied, printed, in several identical copies […], concluding the article with the sentence: „I did not intend to mention PRINTMAKING as an autonomous art discipline, because there will be a lot of talk about it in the following articles (Makeš 1979–1981: I). At this point it is to be emphasized the conclusion of one recent analysis of printmaking as an art practice in which had been used the construct „poor image proposed by the German artist and theorist Hito Steyerl. She has written: „The poor image is a copy in motion […] It is a ghost of an image, a preview, […] an errant idea, an itinerant image distributed […]. It transforms quality into accessibility. Print at its beginnings in European culture can be recognized. Steyerl continues: „The poor image […] takes its place in the genealogy of carbon-copied pamphlets, cine-train agit-prop films, underground video magazines and other nonconformist materials, which aesthetically often used poor materials (Steyerl 2009). The conclusion of the panel discussion on the current position of printmaking as an art practice, held in Kragujevac less than two years ago, was formulated as follows: „A print is a poor image of times gone by which has relinquished that role, passed it onto a different kind of poor images and, with the help of technological progress, freed itself from the ballast of function and the corresponding technical conditions, having found a new purpose of existence in that part of its own nature which connects it to art.

44 P.1 - The systematization of printmaking techniques was proposed by Dževad Hozo.

That part which Branislav Makeš, refers to as the printmaking as an autonomous art discipline is the only point of our interest. And that’s a minor part of the printmaking, if we understand it as it was common until a decade or two ago – that is, the way we read it in professor Makeš’s texts. One of the essential features of this age is that it allows us to view printmaking ONY as an art practice. It is not said that this was not possible in the past, but now it’s almost inevitable to look at it in that way. And, in doing so, what takes on the role of printmaking is new media, the internet, new devices.

45 But the new era is not exhausted by the discussion of printmaking techniques. It has just made it different. The systematization of printmaking techniques was proposed by Dževad Hozo in his essential study – „The Art of Multioriginal published in 1988, and it is presented in the version slightly modified in the essay of Benoit Junod, collector of bookplates, exceptional man who played a decisive role in revival this printmaking form in Serbia in the last decade of the last century, and published in „Collection of Essays on exlibris (p. 1). Hozo’s table is extremely comprehensive, detailed, but burdened with the need to prove that the printmaking is art, or, in professor Makeš’s words – an autonomous art discipline. At the same time, the printmaking is considered in its integrity, that is, as a branch of the industry, as well as art discipline. It was inadequately supported and underlined by the establishing of artistic and non-artistic printmaking techniques – that is, original and reproductive techniques. There are many reasons why the conclusion should on existing original and reproductive techniques should be rejected. One is that prints are only considered as an artistic discipline, but the key is that it is incorrect and unsustainable. In order to prove that the technique does not determine originality, we will use only two arguments that can be summarized briefly. The first one is in the table itself. There is de facto the same technique, which is as original called original serigraphy (silkscreen), and as reproductive – reproduction in silkscreen. This is the point in which Junod’s modification occurs – in the Hozo’s original, two techniques are serigraphy as original and silk-screen printing, as a reproductive technique. It is possible not only to imagine the existence of original etching and reproduction in etching, or original copper plate engraving and reproduction in copper plate engraving, but to find such prints, which is our second argument against the existence of original and reproductive techniques. As the paradigm of reproduction in etching and reproduction in copper plate engraving we emphasize prints of Giorgio Ghisi, Niccolò della Casa and Nicolas Béatrizet – mechanical reproductions of Michelangelo’s „The ast Judgement (s. ZietR kiewicz 2001). These prints, often treasured by museums and other art institurions, show that a reproducible print, or a reproduction made by a certain printmaking technique and under certain circumstances, may also attain a status of an art work. The question „how? is a very complex one. Still, the overall answer would be that such a status is based on similarities with some other works by the same or different authors, i.e., as a subject of study of art history; furthermore, it is based on historical criteria in a way that, for instance, métier carries a trace of authenticity taking over its part to a degree, and then based on position within institutional framework. Reproduction differs from an original in the fact that it establishes a relationship with the entity standing before it as authentic, or original. In other words, reproducing, as a practice outside of art, requires an object to be reproduced. Henry Klein, professor of art history and printmaking at the Valley College in os Angeles, in his analysis of printmaking techniques points at the distinction between the process of making the matrix and the printing process.

46 This we consider to be very important. Such reflection, very simply, well-founded, and yet strangely late, is becoming actual thanks to new technologies and, in particular, something that is designated as post-digital printmaking (p. 2). In the letter, quoted by Junod, Klein states: „With them [my students], I am less concerned with taxonomy (comparison and classification) than by presenting many different possibilities that will excite them and gain their attention. In fact, I am an artist-printmaker, and I am less interested in categorization than in the art itself (Junod, 2007: 194). The last sentence we see as the key one. However, categorization can be important for art, especially when it comes to teaching which inevitably includes creating of art discourse, or narrower – printmaking discourse. And it can help in defining a term that is relatively new – postdigital printmaking. Post-digital printmaking is a general determinant that signifies the hybrid use of analog printing techniques and digital technologies in printmaking as an art practice. It returns the matrix, which is in a certain way moved aside with the beginning of the use of computers, to the center of the printmaking. Angela Geary and Paul Catanese are authors of study that defines and describes Post-Digital printmaking. They conclude that post-digital prints imply „experimental practice and interdisciplinary thinking – a radically contemporary space where emerging, ancient, new and old technologies co-evolve and intermingle (Catanese, Geary, 2012: 8). Based on this, printmaking techniques can be categorized as: -analogue, -digital and -post-digital, and their relation is presented on diagram (p. 3), although this diagram does not illustrate their distribution, and at this moment is something probably impossible to calculate.

P. 2 - relation between categories of printmaking techniques.

47 et’s try to describe what post-digital can be in an extreme way, using a very banal example, certainly questionable, but completely clear – the role of software (e.g. Adobe Photoshop) in executing linocut. Sketch can be transferred to the plate using option flip horizontal to make mirror image. We can say that in such case the role of the computer is insignificant and does not change the essence of the work, but the presence of digital technologies is evident and the process is faster. Is this a post-digital printmaking? We are not sure. The methods or procedures which unquestionably and fundamentally involve the use of digital technologies, we have used or try to use on our art and educational practices are: -the use of PVC foils and cutters as a means of chemical processing of the matrix for the aquatint technique, -the use of CNC machines using lasers or drills to produce intaglio or relief print matrices, -the use of 3D printers for the production of intaglio or relief print matrices. Due to our experiences, we can come up with yet another conclusion derived from professor Klein’s diagrams, and, very simply, put things in this way – the most common form of post-digital printmaking is the processing of the matrix which implies the use of digital technologies, and the printing process which is analogue, and, it could be said, identical to what it was in distant past. Considering the extremely large and increasingly important role of digital technologies, it is a realistic assumption that post-digital printmaking will become the dominant form of printmaking as contemporary art practice. Due to the divergence of contemporary printmaking, it can be expected with great certainty that in the most cases one word or short syntagm will not be enough to indicate the technique, and the description of the technique (in cases it would be needed) would be expected instead of it. Future, descriptive guidance of the technique, which we anticipate, will imply an increasing need for platforms for promotion and studying the art of multioriginal.

Reference: Catanese, Geary (2012). Paul Catanese, Angela Geary, Post-digital printmaking – CNC, Traditional and Hybrid Techniques, ondon: A&C Black Publishers. Hozo (1988). Dževad Hozo, Umjetnost multioriginala – kultura grafičkog lista, Mostar: Prva književna komuna. Ivins (1953). William M. Ivins Jr, Prints and Visual Communication, Cambridge, Massachusetts: Harvard University Press. Junod (2007). Benoa Žino, „Da li je potrebna revizija kolekcionarskih skraćenica tehnika and „Skraćenice tehnika, elementi za dalju diskusiju, in R. Ćirić (ed.): Zbornik o ekslibrisu, Beograd: Ekslibris društvo Beograd – Fakultet primenjenih umetnosti – Kotur i ostali, 189–195. Makeš (1979–1981). Branislav Makeš, „Priče o grafici, Grafički rad, časopis grafičara Jugoslavije (Grafička umetnost, prilozi), Beograd: Opšte udruženje grafičke delatnosti Jugoslavije.

48 Steyerl (2009). Hito Steyerl, „In Defense of the Poor Image, e-flux, Journal #10, November 2009, New York. Retreived on April 10th 2016 from: e-flux, http://www.e-flux.com/journal/10/ 61362/in-defense-of-the-poor-image/ ZieRtkiewicz (2001). Iwona ZieRtkiewicz, Hans Memling – Michał Anioł: wizja konca czasu, Gdansk: Muzeum Narodowe.

49 POLISH PRINTMAKING IN THE CONTEXT OF VISUAL MUSIC ART PRACTICES IN THE BORDER BETWEEN IMAGE AND SOUND

Maciej Zdanowicz1, PhD Jan Kochanowski University Institute of Fine Arts Kielce, Poland

Abstract: The subject matter of this paper is graphic art of three Polish printmakers, whose idea of art based on building cross bridges between visual arts and music, sound and image. In this context I mention about the issue of visual music, avant-garde’s experiments connected to the idea of Karl Tranhndorff’s gesamtkunstwerk or Charles Buidellaire’s correspondance des artes, also scientific researching in the field of neuropsychology, neurohistory of art related to the cross border sensuality like synesthesia and synergic perception. I would like to show analysis of this problem of modern and contemporary, significant for nowadays tendencies about intermediality of art, also printmaking on the some examples from Polish art, like Antoni Haska, Wojciech Krzywobłocki, Antoni Starczewski and others. Also would like to show my experiments in this field, my visual interpretations of monophonic and polyphonic music, as well as my last attempts where I’m focused of soundscape. Keywords: visual music, Polish printmaking, synesthesia, Polish contemporary art.

Introduction

Contemporary art is the open field with tendencies of exploring, creating ever new relations which connect it to other fields of artistic creation as well as to any other area of human activity. All borders, both internal and external, are removed. Any attempts to defend the homogeneity and specificity of particular fields bring the opposite results, as they lead to and provoke the occurrence of a series of artistic practices, the essence of which may be described as transitive, as well as objects of art – medial hybrids which cannot be unequivocally categorized as a one, specific form of expression. The elements appearing here are mainly intermedia, mix-medial techniques, multimedia which utilize new technologies, and - as their components – performance activities, sound art, visual music, musical graphics, concrete poetry, sound poetry, but also assemblage, environment, sitespecific, the art of installation, interactive realizations and many more. Marshall Mcuhann states that such situation is caused by the fact of previous media being depleted. I can trace back the sources of such transformations as early as to ancient times. I am referring here mainly to the notion of ekphrasis, a term derived from Greek, which literally means direct description. This term denotes a series of literary references to specific works of art. On one hand it is the above-mentioned description, and on the other - a proprietary interpretation of an object conceived earlier by another creator, fitted within a specific framework of a given literary form (epic, lyric, dramatic). This notion demonstrates strong connotations with the aesthetic category of mimesis, that is, the pursuit for imitating nature.

1 [email protected]

50 As noted by Jacek Szerszenowicz, however, the difference between the terms is that the aforesaid mimesis corresponds to (…) the primal, pre-artistic reality. Another basis for the scrutinized issue is also the concept of inseparability of all artistic fields, defined as the correspondence of arts. The collection of centuries-old considerations about the unity of all disciplines of art comprises numerous artistic reflections and theoretical manifestos. It is, among other things, the formula „Ut picture poesis, introduced by Horace and stating the opinion about the closeness of poetry and painting, as well as the belief about the parity of those two, seemingly distant, fields of creation. Similar substance is conveyed by other concepts which relate to other fields of art – „Utpictura musica, „Ut poesis musica, etc. The terms of correspondence of arts it has been introduced by the poet and critic, Charles Baudelaire. The basis of the concept is the conviction that the source of symbiosis should be found not so much in their manifestations of art but rather in the human beings themselves, their extraordinarily sublime capability in scope of multisensual, complex reception of art. As a consequence, this belief has been developed in the studies and investigations in scope of the phenomenon of synesthesia and sensual synergy. The first notion refers to the predisposition to read a given sensory stimulus using other sensual qualities. The synesthetic associations are unchanged throughout the lifetime and emerge spontaneously. Their form depends of individual abilities of a man. In this sense they are unique. However, there are instances of the emotions of common feelings. This is, among others, the ability to connect the pitch of sound with achromatic scale. It is very common the perceive low tones (minor) as dark ones, reflecting the shades of black, whereas the high tones (major scale) as bright, close to shades of white. The character of the first ones is described as gloomy, sad, heavy, and the second ones- as light and gay. In this point we observe strong symbolic connotations and example showing the conditioning of certain perception processes with the cultural impressions. Jan Młodkowski defines it as a synergy and indicates that this ability is necessary, for instance, in the process of reading sheet music. But we have to return to the history of the reflection about the unity of arts. Before Baudelaire idea of corespondance des artes, Richard Wagner materializes the concept of a total work of art – Gesamtkunstwerk, which, as defined by the creator of this term – Karl Friedrich Trahndorf (1827) – is supposed to unify and bind within itself a variety of artistic forms. As understood by the above-mentioned composer, opera is such synthesis of sound, word, image and movement. These thoughts determine to a significant degree the exploration of the artists at the turn of the 19th and 20th century, leading to experiments and the emergence of progressive approaches at the peripheries of media, artistic disciplines. Siglind Bruhn, a German musicologist, links the notion of ekphrasis to the area of artistic practices located between fine arts and music. She replaces the above-mentioned term with the notion of transmedialisation, borrowed from the reflection and the studies on new media-related phenomena, in particular digital means of communication. The term of transmediality was introduced by Henry Jenkins, the author of the book ‘Convergence Culture: Where Old and New Media Collide’ (2006).

51 The American theoretician focuses on permanently occurring processes of interchange and rotation of contents between various forms of broadcast, both the analogue and digital ones. In his understanding, the changes are maintained not only by the technologies and development in this industry, but also social and cultural behaviours and expectations of a contemporary human being. At this point, Tomasz Załuski presents a synonymous term of remediation, introduced by Jay David Bolter and Richard Grusin. This term indicates the capability of media to undergo transformation towards a different form of communication. The authors observe that particular media do not exist separately but determine one another, thus displaying the above capability. These statements develop the beliefs of Mcuhann as regards the evolution of media forms, taking place both historically as well as on a daily basis (…) a characteristic fact for all media is that one medium is the „content” for any other medium. Speech is the content of a magazine as much as a written word is the content of printing and the printing – the content of a telegraph. As regards the way of understanding the term of transmediality suggested by Siglind Bruhn, according to which it is the process of transferring certain structural properties and the content to another artistic medium, the notion which seems to be of significant importance is transposition. A synonymous term to it is transcription, which basically means translation process based upon the criterion of a strict adequacy as well as the principle of homology and analogy of linguistic forms. It is emphasized that with regard to the trasnmedialisation process it is crucial to convey not only the important content, but also certain formal properties.

Visual Music as an Artistic Movement

According to the main issue of my speech - visual music is the artistic movement including the practices situated at the verge of visual arts and music. This notion entails experiences, artistic experiments in the scope of imaging music and sound. These realizations are undertaken on the ground of fine arts and contemporary medias like experimental film, video recording, light and sound projects, multimedia, as well as interactive activities and installations. The origins of visual music can be found in the theories of Pythagoras and Aristotle, then in Goethe, Isaac Newton, and numerous other texts on the correspondences of the color spectrum and sound waves, music and color, and sound and light. The color organ tradition - machines constructed to project colored light in rhythmic structures borrowed from music, and sometimes specifically to visualize accompanying music, began with Albert Castel as noted above. There was a plethora of color organs at the end of the 19th Century, and many more throughout the 20th Century - first mechanical and electronic versions and then computer versions. The beginnings of Visual Music as an artistic movement are connected with the person of Wasyl Kandyński. This artist shall publish, in 1910, his treaty „On spirituality in arts. This work is the effect of being astounded by the works of impressionist artists. The artistic progress made by the French artists, the paining mode elaborated by them, entice Kandyński to search deeper into the issue, consider

52 its essence and the function of this discipline of art. As a consequence, the artist dispels the paradigm of mimesis, leaning to the art directly capable of moving the sensual and spiritual sphere of a man. The music becomes the patterns, as its abstract nature. The artist perceived the analogy between the workshop of a composer and a painter, the relation of music means and clear fine arts forms. Kandyński claims that (…) color is the manner of immediate impact on the soul. Color is the key. The eye is a small hammer. The spirit is a multi-cord grand piano. In 1911, the painting entitled „Impression III (concerto) is finished, in which there is a clear abandonment of any juxtaposition of purely painting-related solutions. The starting point for the realization of the painting is the music of Arnold Schoenberg, his dear friend. As a result, this and the subsequent paintings of the artist, exhibited in 1913, impress the publicity with the suggestiveness of impact. In particular, the critic and essay-writer Roger Fry is particularly impressed. In his review, Fry touches the issue of exceptional composition of Kandyński, and his workshop is described as visual music. Since then, the notion becomes the part of the official artistic terminology. In the development process of this approach, the two stages are visible. The first one is connected, first of all, with the renovation of fine arts and emergence of abstraction in painting. Artists search for musical equivalents of sound in the most fundamental means of expression. The compositions become more extended, in virtue of approving „the course, length of sound, horizontal time line. More often than not, the fundamental means is the repeatability- the rhythm. Musical notions in art are included, mostly, by Kandyński, but also Paul Klee („Fugue in red, 1921), František Kupka („Amorpha. Fugue in Two colours, 1912) or Piet Mondrian „Broadway Boogie-Woogie, 1942-1943). Origins of visual music in Polish art we can find in works of Polish and ithuanian artist - Konstanty Ciurlionis with his cycle of paintings titled „Sonatas (1900-1905) also drawings, graphic designs of music scores for publication of his own music compositions, Wojciech Weiss - „Portrait of Chopin, Wacław Szpakowski „Rhythmical ines. Very often, their visions are the free interpretation of musicality idea, rather than direct reference to a specified piece of music. What is characteristic for the first phase of development of the visual music is the fact that artists, in their activity, base on the metaphoric, suggestive language, requiring individual involvement of the recipient. The second phase brings the development of moving picture and new media, providing the field for elaboration of almost ready-made synergic contents, fully correlated with the sound layer. What is particularly important in this field are the realizations of avant-garde artists connected with German film production centers, such as Oskar Fischinger, Walter Ruttmann or Hans Richter. The essential input also belongs to Stefan and Franciszek Themerson, Polish artists whose work entitled „Eye and Ear (1944) almost immediately became the foundation for the phenomenon of „color music.

53 Janina Kraupe-Świderska (1921-2016)

She was a Polish painter and printmaking artist. In 1947 graduated Academy of Fine Arts, first Faculty of Painting (Studio of Easel Painting of prof. Eugeniusz Eibisch and Studio of Monumental Painting run by prof. Wacław Taranczewski) and next - one year later - Faculty of Graphic (where she studied in the studios of prof. Andrzej Jurkiewicz and prof. Konrad Srzednicki). Since her studies to the end of her life she was working in the field of painting and printmaking (in the last - mostly used such graphic techniques like coloured linocut, lithography and monotype). Since 1957 was a member of one of the most progressive art group after II world war called Grupa Krakowska (in this group cooperated with Tadeusz Kantor, Andrzej Wróblewski, Jerzy Nowosielski, Erna Rosenstein, Maria Jarema). Her works are in the collections of many Polish and foreign museums and galleries, even in the Guggenheim Collection in New York. Janina Kraupe-Świderska was inspired by the space of spirit with references to the occultism symbols, astrology, Far-Eastern cultures, Buddhism, especially Zen movement. This inspiration appeared after traumatic experiences about 1950. Her art reflection was closed in two main series of art works both in painting and printmaking titled „Methamorphoses and „Transmutation. Both key problems are referenced to the issue of life as a constant change, an infinity of a space-time. In this case very important is problem of artistic process, artistic method of working which starting to be a real meditation. As was written by Izabella Trzcińska (…) she entered a trance state in which she received direct contact with another dimension, and heard a voice explaining the nature of reality changes. Important element of her work was music, which wasn't only the element of condition for art process, the element of help in creative concentration. Music as a free emotion, clear spirit (in Schopenchauer's meaning) expressed by absolute language of sounds, was also the way to the transcendental reality. This meditative time was noticed by distinctive abstract language, a sort of „esoteric script expressed by her own alphabet, signs created by method of athomatic record similar to the ancient hieroglyphs, cuneiform writing, far-eastern iconic script. This mysterious signs – kind of letters, kind of musical notes, strings of the single signs are ordered into horizontal lines like a lines of printed page or staff of the musical sheet. This linearity is also a method of the time reconstruction, transition from the flat space into 4th dimension. In this meaning image became another form of language, text even musical score. Her music inspirations are revealed in specific organization of the structure of the image nut also in the titles of some art works, for ex. Dedicated for classical composers like Bach or Vivaldi, also contemporary musician like Krzysztof Penderecki. For example the musical motifs (Preludia Chopina/ Chopin's Preludes, 1985; Fragmenty symfonii górskich/ Fragments of Mountain Symphonies, 1986; Finale symfonii/ Final Symphonies, 1997), and, from the middle of the decade, free transcriptions of the works of Johann Sebastian Bach, Wolfgang Amadeus Mozart and Krysztof Penderecki. Her visions of music aren't so clear and objective. Janina Kraupe didn't elaborate any transmedial strategy.

54 Her process of the transition from hearing space into vision based on deep spirit experience without analysis of formal and workshop features. She composed her own „piece of music, her own visual music which are an expression of a profound feeling of unity and harmonious referenced to the ancient Pythagoras idea of music of the universe, according to the spiritual and material sphere, durability and transience, life and death.

Wojciech Krzywobłocki

Wojciech Krzywobłocki born in 1938 is an outstanding contemporary graphic artist, was a professor of the Jan Matejko Academy of Fine Arts in Cracow and ran the Studio of Screen Print at the Faculty of Graphics Arts, also connected with KUnstlerische Volkschochschul, Wiener Kunstchule in Vienna, and University of Art in inz. Art experiment with printmaking techniques and technologies, especially with matrix, also transmedia experiment on the border between sound and image are a particular feature of his creativity. He is the author of several series of graphic works which structure and form of presentation greatly refers to audiosphere and idea of musicality. The ground stone and starting point of creative process is a photo, which take an important role in his workshop and life. His father, Aleksander Krzywobłocki was an outstanding, avant-quarde artist, photographer and author of fames photomontages which visual form and atmosphere where close to - on the one hand – surrealism, on the second hand – to constructivism. This strong, emotional attachment Wojciech shifted and adopted into his graphic workshop. In this case, particular photo is an art material for next conversions like multiplication and overlapping. In the effect photos legibility and create illusion of movement, dislocation. In conjunction with specific geometry inspired by graphs of sound fluctuations, its frequencies, artist creates expression of sound. Their essential feature is rhythm, specific liquidity between something material (like magma, a cross-section of the ground or tectonic structure) and non-material, pure energy – wave. Multiplicated photography creates a rhythm which is an expression on a time space. Artist's reflection about a time-space, form of his works results in experiments with a format of a classic rectangle for the several solutions with diamond shapes, finally creations of interesting graphic installations, even performing situation which take place not only in interiors of galleries but also alternative space to build interesting relations between form and content of his art works. Very interesting are his investigations from the years 1970-1980 in the field of the extending the origins of image both the origins of inspirations. He analyzed matrixes and prints, aforementioned effects of multiplication photos, catched television images, its results – impression of immersion in space very complex, built by specific, dynamics patters. Krzywobłocki often uses for his investigation on the border between sound and image elements borrowed from the musical reality, such as director's pulpits, which specify his connection with music or equipment for playing music. Very important in this case is also his cooperation with Krzysztof Bargielski, an outstanding contemporary composer, who dedicated for Krzywobłocki several music compositions.

55 Bargielski is also the author of music compositions for Wacław Szpakowski, Polish avant-quarde artist, pioneer of abstract geometrical art and transmedia activity.

Bogusław Schaeffer

Bogusław Schaeffer is an outstanding Polish composer, musicologist very controversial because of his avant-quarde approach. He is focused not only in the field of music compositions, but also music theory and art practice connected with visual arts, especially drawing, montages and graphics. He graduated Academy of Music in Cracow and Jagiellonian University. His artistic investigations in the field of concrete music, researching of new music ideas which base not only on alternative instruments, electronic equipment but also issues of composition without of existing principles, canons resulted in necessity to elaboration of new music notation. In 1965 he began cooperation with famous Experimental Studio of Polish Radio. In 1950, Schaeffer created one of the first graphic notations, next to John Cage. Composer replaced score into visual symbols based on suggestive signs, symbols. First and foremost, the lines, structures, layers of varying shapes appear, often supplemented with the verbal comment or specified using numerical parameter. These works are supposed to refer to the imagination and sensitivity of recipients. This is the fundamental difference between the standard and modern recording. In the first case we deal with the exact reading of hints included in the sheet music, in the second one- with sheer interpretation. This way the musical graphics provides the opportunity for individual performance of a given piece of music, creative role of the case. Of course, the function of musical graphics is fulfilled at the moment of creating concepts, as well as its repeat playing. However, in this case also the visual potential is perceived, so it is often treated as the category of fine arts. Graphic music became new medium, not only method of music notation, but also independent art genre, movement. Natural spaces of graphic notation aren’t only concert halls but also galleries, centers of contemporary art. As wrote Maria Zientara: Graphic scores of Bogusław Schaeffer have all features of visual art work, like: composition, drawing, form, color, expression, but also are notation of original piece of music. So, music notation became casually series of original, abstract graphics. Hidden potential of expression is exposed/to be unveiled only during concerts – which are like opening of exhibitions.

My art practice

Since the time of art studies, I devote my time to the research in the field of presentation of music and sound, research of the mutual relations between fine arts and music. To be more precise, I am focused on creating images in the form of auditory sensations. As far as my first attempts were clearly intuitive, sensory, since certain moment I am focused on the experience of exact analogies between sound and image. The layer for my consideration is my personal experience as well as the outcomes of research, mainly in the theory of fine arts and music. The works devoted to music were contained in two series.

56 The first one entitled „Monophonic images refers to works based on the sound of a single instrument. It is narrow in the means of expression and the colors are reduced to the shades of grey. The second series entitled „Polyphonic images, is composed of multi-color structures created to the music for a wide set of instruments. In the scope of my musical inspirations you can find the contemporary music phenomena such as minimalism, serialism, aleatoric music, electroacoustic music and concrete music. Since 2013 I have shifted my interests into the area of soundscape. The system of translation elaborated by me is based on the perception of the analogy between fundamental sound and color parameters. On the basis of the existing premises of theoretical nature and artistic ones, I perform the juxtaposition of basic sound parameters with the properties of color. As a result, I juxtapose the intensity (volume) with size, scale modulation of particular shapes; frequency (tone pitch) with valour, degree of darkening, timbre (color of sound) with specific colors. The length of sound finds it counterpart in horizontal extension of the compositions created by me. The input for this process of translation is the computer-generated figure of noise spectrum. Its geometry is simultaneously the agent ordering particular visions. The essential material is composed of various photos, both these created simultaneously with recordings, as well as the ones found in the net, having direct connection with the researched spaces. When connected, multiplied, they become the material, the mass blurring its clarity for the benefit of reinforcing the illusion of dynamics, stressing the flow, length of sounds. The obtained effect results in differentiation, reflecting the richness and structure present in soundscape. The formats of particular realizations become extended in order to stress their time dimension. The application of module structure of each of paintings allows for making sequential alterations resulting from the architecture of exhibition, or the intention to underline the nature of the soundscape changeability.

*Until the closure of this publication editing, the author of the article have not provided list of literature.

57 PRINT EDITION IN/AS ART

Milos Djordjevic1 Faculty of Education in Jagodina University of Kragujevac, Serbia

Abstract: Title of the paper refers to ambivalent status of edition in the context of historical, social, cultural and economical early modern Europe printmaking, and also in the view of meanings and values of contemporary art world. We will first examine implications and limitations of distinctive concept of edition in art and the boundaries which have been consequently placed on the printmaking discipline in the background of modern art. Furthermore we will take in consideration notion of reinterpreting traditional aesthetic values and operational possibilities of complete edition of prints as unique artwork. Various serial works, multiples and editions of prints have emerged during XX century manifested as unique artworks. Selection of such works will be taken in consideration as challenge to the conventional model of printmaking practice. Key words: contemporary printmaking, print edition, multiplication, seriality.

The pragmatics of print paradox

Edition represents essential postulation in ontology of printmaking as unique art discipline. The final outcome of the genesis of one print and of technically complex printing process is edition as the goal of printmaking project. By definition edition represents total number of registered identical impressions printed from the same plate, or plates if print is multicoloured. It is distinctive part of morphology inherent in the medium. Among other art forms printmaking is a specific medium dedicated in principle of creating not one but „many originals (Zigrosser 1956, 20), or simply as the art of multioriginal (Hozo 1986). Printmaking thus represents a paradox - many identical and yet unique originals. Even mass-produced, each print in edition is original on its own. This specific quality of printmaking has been widely accepted among artist, collectors and public. Twofold nature of prints and of an edition has had economic effect which significantly shaped the development path of the medium. Economic rationale of the medium reflected the principle of production of many originals at a moderate price. For more comprehensive insight of such development path of printmaking in early modern Europe we will reflect on heteronomy of art in general and consequently printmaking as art discipline. In attempt to interpret function of art we will encounter multiple concepts such as pragmatic (decorative or political), didactic (instructive), formalistic (self-sufficient) or autonomous (immanent to itself). Evidently this term is dynamic and its meaning has changed over the time. When we say over the time we don’t refer to void temporal dimension of the past, in the generic sense to the chronology or as the sum of past events. We refer to events which are synchronously induced and governed by external social influences, or simply put we refer to history as of social phenomena.

1 [email protected]

58 The genealogy of an event should be considered in the surrounding social environment, that is, through a multitude of social processes and their interaction. Certain event, as well as one occurrence in art, happens due to set of social, that is ideological, political, economic conditions, or in relation to mechanisms of social production of narratives, identities and values. Thereby, history, as well as art, is by no means natural phenomena that happen by themselves. Analyzing historical and daily myths Roland Barthes proposes history as row of „false obvious through examples of high and low art and of popular culture and de-masks political/ideological engagement of every art (Barthes 1991). He suggests that art in any form or manifestation, or any other social activity can’t be ideologically neutral. In other words the class in power, or structures of power, produce system of value and force the course of social development. Even XIX century concept „’rt pour l’rt („art for art’s sake) of bracketing art off any social aspects, didactic, moral, or utilitarian function and proposing purpose of art in and not apart from itself, is merely political act. Paradoxically art is a practice whose socially determined function is to be without function. Consequently the emergence of printmaking as a new artistic form in XV century Europe is induced by strong social contradictions during that time. Increasing significance of printed image was already a phenomenon determined by the social/economic relations. Printmaking represents the outcome of a common evolution of technical and social activities. Throughout the history the strongest application had those scientific and technological discoveries of particular benefit for the transformation of the social hierarchy. Technical progress, apparent in the invention of the press and fully manifested through industrial revolution, will become the basis of social production that determined all areas of life because social production represents power, not only in the form of knowledge, but also as a direct control of social practice and real life processes. Social production conditions re/produces forms of life. Knowledge objectified in fixed capital (instrument of labour and production) becomes epicentre of social production and preordain all areas of life. It is kind of knowledge instrumentalized for dictating and organizing the production processes and social division. The appearance of woodcut in Europe, and somewhat later, the intaglio, correlates with the general democratization of art that has undermined the cultural and educational monopoly of the church and the monarch. Edition of single prints or within printed books deeply contributed the cultural and educational uplift of the societies. From the XV century onwards, by virtue of skilful artists and artisans, various scientific ideas were translated into images that could be easily reproduced and distributed in wide circulation. This is a historic moment when a new understanding of the function of art is in place, which transgresses into the private sphere of individuals. The invention of printing enabled cheaper and easier creation of images for larger circle of interested parties at affordable prices. The bourgeoisie as new social class in arising civil society claimed art and culture as part of their identity. In appropriation of the prerogatives of old feudal families they aspired to owning artworks in private homes, even as a poor reflection of grandiose paintings, such as those that can be previously seen only in the church or palace.

59 Commissioned artworks were instrumental in construction of bourgeois class identity. Emerging middle social class opposed feudal system with growing financial, political and cultural power and influence. One of the oldest print collections, the Print cabinet in Dresden prospered under court sponsorship during XVI century with equally significant acquisitions provided by bourgeois during XVII and XVIII century (Schmidt 1978, 243-246). Prints became institutionalized as subject of collectors and dealers interests, but of wider public as well. Although leading artists of the time left substantial number of remarkable artworks in printmaking medium, there were hundreds of other prints with lower artistic value with explicit commercial character (pornographic images for erotic pleasure, playing cards, icon of saints). Such circumstances laid firm ground for commodification of printed artworks. Miniature woodcut prints were common at fairs during XV and XVI century as cheap souvenirs. It is not insignificant either the economic aspect of inflation of the images. The mechanically multiplied prints that circulate in high numbers already at that time represented mere goods. As such, in a short span of time, prints, printing and publishing soon became subject to economic and government regulation or individual interests. Almost instantly was comprehended the power of printed text and image and the importance of production control. Already in the XIV century production of woodcuts was under attention of the pope - Clement VI (1342-1352) and Bonificy IX (1389-1404) - and controlled in monasteries as part of religious propaganda. Prints were celebrated for the ways in which they spread images, information, ideas, and political views. Martin uther made effective use of Gutenberg’s invention to question the established Church and undermine monopoly over knowledge. Between 1500 and 1530, uther’s works represented 20 percent of all materials printed in Germany (Edwards 1994, 18).

Reproduction and print production

Capacity for multiplying images was of primary interest for many artists of that time as well. Possibility of selling multiple number of the same image resulting with fast profit became main motive for the artists. Depending on market demand prints were often reprinted and worn-out plates were reworked to extend their lifetime. Rerun of editions of popular prints were common. Economical aspect of editions reflected more entrepreneur driven intentions of artists or publishers. Compared to longer and more expensive process of making unique artwork e.g. in painting, reduced production costs of multiple prints and their lower market price made possible faster profit for artists and publisher. On the downside, democratic effects of mechanically multiplied images inevitably distorted aesthetic experience of encountering with work of art. Reproduction prints - printed copies of famous artworks - were widely popular for providing experience of close encounter with originals otherwise inaccessible due to ownership, place of instalment or other. Instead of bringing art to everyone, reproduction just provided images of art, empty images lacking the aura of the original, as Walter Benjamin proposed the here and now of the work of art (Benjamin 2008, 19-56), the very (spatial, historical, cultural,

60 economical, social) distance which makes original artwork unique and inaccessible. Images circulating in high editions with mass response gained new function of product intended for consumption. During XIX century concept of closed or limited edition was utilized which required destruction of the plate, so limited number of prints would be ensured. Exclusivity of prints which were hand-pulled, numerated and signed by the artist influenced market value. Still this failed to assure demarcation line between editions or fine art prints, and reproduction prints and commodity products. It is common practise of galleries and museums to offer reproductions as signed editioned prints which can fairly confuse the public to embrace or comprehend printmaking art. Regrettably, as printing technology advanced and possibilities of edition size grew, significance of print as art form deteriorated. This reproduction stigma pushed aside printmaking art for quite some time from relevant ongoings in the art world. High editions of various printed forms (journals, posters, reproductions or similar), advancement of new reproduction technologies and mass-production in general, contributed to a decline of fine art prints and printmaking in the art world and in public in general. Until the mid of XX century printmaking and prints have been considered just as an adjunct activity to primary mediums such as painting and sculpture. It is rapid shift of art movements (conceptual art, pop art, fluxus, happening and performance art) and appearance of collaborative print workshop (Tamarind workshop, G.E.. Gemini or UAE) during the 60s that globally brought the hard turn in this hierarchy. Ironically it is exactly emerging technologies, omnipresent hypermultiplicated digital images and digital aesthetics that may ease pejorative tone of printmaking art due to far association with reproducibility. Diversity of individual practices goes beyond subjective technical demarcations and proposes possibility for wider discourse in printmaking. We can see constant questioning what printmaking and print can be, how they can be and what/should they can do. In other words, during second half of XX century a new systematic way of thinking appeared about printmaking as a method in art. To this end, we will reconsider edition as a stage or a morphological function of artwork rather than a convenient consequence of printing process or as mandatory medium convention. Instead successively disposed to the market or presented as single prints at exhibitions or fairs, prints in edition, or the whole edition, can be used as a structure of a single artwork. In further consideration of this standpoint we will review several examples where edition was used or suggested as a single artwork. Andy Vorhol’s „Brillo Box (1964) can be considered as proto example of edition as artwork. Even not specifically declared as printed artwork but sculpture, exterior was completely produced in silkscreen technique. Choice of technique is tuned with social commentary of the artwork produced with commercial method for printing used in industry and mass production. In overall aesthetisation of everyday life, art world losses exclusivity of aesthetic experience. Detached from the art, aesthetic experience becomes instrumental in realization of abstract value of an object on the market.

61 Zoran Popovic in his ambiental print installation „Outlined (1969) experimented in printmaking aspired with break from modernistic canons. This work is semi-autobiographic and documentary review of social atmosphere and political turmoil of 1969 students’ demonstrations in Yugoslavia. Seven sets of identical prints forming human figures stitched together can be contextualized as unity and determination of students in achieving their goals. Nada Prlja in her project Daily News Agency uses newspaper in a subversive manner to reveal fact of mediatised reality and the strategies of manipulation with public opinion through printed media. Milos Djordjevic’s „Expansion II (2004) spatially continuous modular structure is a result of rather formalistic investigation of printmaking through dialectical tension between materiality and potentiality. Ahmet Ogut mocks and parody consumerism society in his „Clear Blue Sky VS Generous Earth: Bags (2008) silkscreen „consumer friendly parole inscriptions on shopping bags. Eva and Franco Mattes, a.k.a. 0100101110101101.org, in their project „United We Stand (2005) designed, printed and distributed posters and billboards for cynical campaign against EU in cities around the world. With her „Steal This Book book-installation-sculpture (2009) Dora Garcia questions the norm and boundaries of socially accepted behaviour. Renata Papista uses her editions as site-specific ephemeral installation linked to dichotomies of human conditions. Delicate physical aspect of her installation relate to the topics of her research such as social, cultural or historical human presence/absence. Once installed, her installations are meant to be destroyed in dismantle. Now she has only two editions of „E.A. woodcut print installation, out of seven originally produced. Andre Komatsu’s „Constructing Value (2012) is installation with variable dimensions incorporating 14 edition of photocopied random images depicting oil, school, police, TV, time, farm and on. Stacked vertically in different height columns, together form a model of hierarchical construction of social values. Four industrial fans are arranged on corer sides of structure so their air stream destabilises construction suggesting reorganisation of values into a horizontal base. Sumi Perera in her „Think Outside the [Building] B(l)o(cks)X (2013) uses single matrix to develop 12 panels for the installation which reflects on the spatial economy of artwork through variable compositional permutations possible within edition. * * * In this review of various examples of artworks from artists of different historical, educational, cultural and social background, notion of edition as single artwork is evident either as unconscious invocation (Roca 2011, 23) of print, in some cases as sporadic conduct in artistic practice or at others as particular operational strategy. None the less they make kaleidoscope interpretation of intriguing idea of edition as unique and single artwork. Understood as a whole object with own shape and function, edition of print is a form of expression which involves characteristics of artworks with different ontological status, but not just in the way by which mimics or appropriates them. This manner of thinking about edition elevates printmaking out from hierarchy of artistic disciplines with intention not to undermine the formal division of disciplines, but rather to simultaneously position printmaking as a functional platform for operating in contemporary art system/s.

62 Illustrations

Andy Warhol, Brillo Boxes (1964) Retrospective at the Modern Museum, Stockholm, 1968. Photo: Nils-Göran Hökby.

Zoran Popovic, Outlined (1969) Group exhibition Young of ‘71 Museum of Contemporary Art, Belgrade, 1972.

Dora Garcia, Steal This Book 29th jubljana Biennial of Graphic Arts MGC, jubljana, 2011.

Ahmet Ogut, Clear Blue Sky VS Generous Earth 28th jubljana Biennial of Graphic Arts MGC, jubljana, 2009.

63 Eva and Franco Mattes, United We Stand 28th jubljana Biennial of Graphic Arts MGC, jubljana, 2009.

Renata Papista, E.A. 30th jubljana Biennial of Graphic Arts MGC, jubljana, 2013.

Sumi Perera, Think Outside the [Building] B(l)o(cks)X Photo courtesy of the artist, 2013.

64 Andre Komatsu, Constructing Value 30th jubljana Biennial of Graphic Arts MGC, jubljana, 2013.

Milos Djordjevic, Expansion II, SUUJ Gallery, Bellgrade, 2004.

Reference: Zigrosser (1956). Zigrosser, C., The Book of Fine Prints, New York: Crown, p. 20. Hozo (1986). Hozo, Dž., Umjetnost multioriginala. Kultura grafičkog lista, Mostar: Prva književna komuna. Barthes (1991). Barthes, R., Mythologies, New York: The Noonday Press. Schmidt (1978). Schmidt, W., „The Prints and Drawings Cabinet, in The Splendor of Dresden, Five Centuries of Art Collecting, New York: Metropolitan Museum of Art, p. 243-246. Edwards (1994). Edwards, M. U. Jr., Printing, Propaganda, and Martin Luther, Berkeley: University of California Press, p. 18. Retreived on July 7th 2018 from: http://ark.cdlib.org/ark:/13030/ft3q2nb278/ Benjamin (2008). Benjamin, W., „The Work of Art in the Age of Its Technological Reproducibility, in Michael W. Jennings, Brigid Doherty, and Thomas Y. evin (eds.): The Work of Art in the Age of Its Technological Reproducibility, and Other Writings on Media, Cambridge, Mass: Belknap Press of Harvard University Press, p. 19-56. Roca (2011). Roca, J., „The Graphic Unconscious, in Philagrafika 2010: The Graphic Unconscious exhibition catalogue, Philadelphia: Philagrafika, p. 23.

65 PRINTMAKING AND ARTIST’S BOOK WHAT HAPPENED TO CONTEMPORARY ARTIST’S BOOK?

Nikola Radosavljevic1 University of Arts in Belgrade Faculty of Applied Arts

Abstract: The paper examines the mutual relations of printmaking and artist's books, analyzing artworks made with these combined medium. The artist's book represents continuance of the expansion of printmaking medium, as form of intermedial, synthetic and spatial printed object. History of the artist's book reveals how it changed and under what reasons, yet, recent expansion of new technologies and other visual means sidelined this medium in further development. Since the book is the only “living” art object that integrates the observer (e.g. the interactivity of flipping the page), it differs from fine art print, and develops under own principles. New technologies and contemporary curatorial practices enabled artists to broaden this discipline completely independently from basic principles of the printmaking art. Although poorly researched and insufficiently represented in local art scene, still this medium formulates own language, and through the works of artists we have as testimony, brings to contemporacy what it lacks most of - intimacy. Through the first postulate - immediate relationship with the observer - artist’s books propose to us that there should not be any more such thing as common place, accessible to everyone. The artists who explore personal poetics through this medium, use space, time, technology and observers as the material for their work. The book decline standard display cases because integral part of it is the audience and interaction with it. This is the reason why artist’s book transcends traditional printmaking and lean towards new visual forms. Video, sound, moving image, digital performance, conceptual albums give space for new visual and interactive interpretation of artistic ideas. Although the medium incorporate elements of printmaking, painting and sculpture practices (sculpture’s book, material work), they are incapable to transfer the artist’s idea to the XXI c. man. Even some of the reasons for the introduction of digital technologies may be just a mere experiment, still the limits within this medium do not exist. Many theorists advocate a general idea of the “death of art”, but the case is the horizon of artist’s book awaits further exploration, which makes the medium anything but “dead”. In Serbian art scene these artworks are present either as experiment in artist’s expression, or as full explication of their ideas in absolute form of artist’s book. Key words: society, technology, printmaking, book..

* * * In following text I will try to explain mutual relations between traditional printmaking practice and artists book that we know today. Quoting works of art in which we can recognize both of those mediums we will notice how much contemporary artist’s book divided itself from traditional printmaking. For some reasons, not so unknown, this medium stayed independent, allowing artists to experiment and make new researches. Artist’s book as medium is logical way to expand printmaking practice in contemporary art. ______1 [email protected]

66 Because of its characteristics we observe artists book as art object that have spatial relations and it is in synthesis with other arts. Through history of industrial and artist’s book we can see expansion of this unusual art practice, as well as we can understand the reasons for creating it. Same those reasons starts to look blurry in 21st century, when we implemented new technology and digital arts into artist’s book. Most of us talk about artist’s book as one of the rare living artists objects, in which observer must be implemented. Compared to traditional printmaking, artists book have completely different history of development. The reasons why it was firstly made and how did it grown up since its beginnings, separates it from printmaking, even if the roots of both art disciplines looks the same. New technology and contemporary curatorial practices created free space for artists in this medium to research and observe artists book as independent medium, and to create books without thinking through only one art discipline. As we all know, the theory of art and history of art in Serbia, especially theory of contemporary art, does not give us enough information about this specific medium, and there are not so much written works about expansions in this part of Europe. That’s the main reason why everyone likes to keep it so tided up to printmaking- basics are almost the same, but final product is completely different. Theory seems like it’s been missing few important facts about contemporary printmaking scene in Serbia, but when it comes to artist’s book- everyone describes it as printmaking genre. While theory and history of art in Serbia had been completely useless for book as an art object, art scene and artists in this discipline had created their personal visual language. Through works of art as testimony we can realize that art world had finally pointed a medium which will bring back to art something that have been missing for a long time- intimacy. Using its first formed request from observers- relations one-on-one, works from this discipline teaches us that nothing can belong to everybody, and that nothing is dedicated to public. Even if it is, it always stays in much more intimate form than any other art work. Artist that use this medium to explore their own poetics, using space, time, technology, use observer too as art material for creating those art pieces. Artists book refuse to accept traditional exhibition practices in which it had been caged into glass cubes, because important part of book is interaction with crowd. This is one of main reasons why artist’s book breaks up its close connection to traditional printmaking, but still uses new graphics visual resources. Video works, sound, digital performance, digital drawing, concept music album, etc., all of those give us enough space for new, interactive and creative ways to think about an artist’s book. Even if this discipline gathers more than just one visual tool (it gathers printmaking, sculpting and painting practice), all of that is not enough to explain an idea of contemporary artists book. Artists strive to give more and use more of the real world they have, in need to explain and make art books close to the society. Maybe implementing new digital technology in this medium is nothing else but experimenting with new mechanical force that industry gave us, but anyhow, limits inside artist’s book are erased long ago.

67 Many art theories are talking about death of art, but when it comes to an artist book we can see a whole new world that has not been examined enough. That is the main reason why artist’s book is everything except dead. Serbian contemporary art scene those works recognize and support only if they are experiment, or side-project of one artist. Also, it supports those objects if they are used as unusual form for works that are previously made in some other medium. What we need more is talking about artist’s book, so they stay here as independent medium when it comes to them. They do not have to be close or connected to any other; they can stay alone in all shapes and forms. Examples of different works will be dedicated to potentials that we can observe and use in artist books, when it comes to their creating and exhibiting. Most of following works will not be books, because the best way to create artists book is not to look at other artist’s book. This medium stays intimate for an artist, and it needs to be constructed on anything that awakes imagination. Why I choose these works? They helped me during my experiments, trained me how to think about book, what space is and what time is and how to use them in art.

A. Kiefer, „Book with wings, installation.

J. Holzer, „ustmord, photography

68 This might be one of the most poetic and sensitive works of artists books ever. To many artists who are involved into this discipline, Kiefers sculptures stayed as inspiration for decades. Work is simply consisted of materials and spatial relations that are unusual for an artist’s book. Kiefer moved limits of gallery practices, for sure, but he remained in quality of work. Using metal with feathers in this case shows variety of possibilities how to make a good contrast and how materials can speak for itself. This work is best way to introduce someone who never heard of about artist’s book, what it is and for what it is made for. This work is far away from artist’s book discipline, but it opens up some questions that can be interesting if you are interested into re-thinking about medium.

T. Emin - „Everyone I Have Ever Slept With, spatial object.

Originally, Holzer created those works as photo documents, and they had been very important part of contemporary art. But looking at them we can found close connection to the world of an artist’s book. It is a text tattooed on humans’ skin, photographed after. Certain message is written and documented. In this exhibited form it looks like an open book.

N. Kokić - „Comet falling apart, drawing.

69 A series of multiple tattoo works is following this example. Unusual material had been used to create a feeling of fear and terror just looking at those photographs. Interaction is completed with the fact that tattooed objects are people, and their real skin will peel off in time. This change is similar to those changes that every book has in its life. So: message, change, interaction and material made this work close to an artist’s book, and it is, for sure, a good material for further examination of this medium. Famous Emin’s work is simply inspiring for those who strive to achieve most difficult level of projecting and creating artists book. This piece is an intimate story about love, rejection and obsession. It is an illustrated diary through time, that represents artist’s fears, hopes and loss. As you step into the interior of work you will find yourself in memory that is not yours. This handmade built tent gives us opportunity to step into someone intimacy and question ourselves. As we all strive to be close to our observers using books as an excuse for sending messages to the world, we need to be more open to the highest levels of interaction. No matter in what medium we work, all of us need to tend to work and create places that are important for education and places that can question modern society and our own world. In this drawing cycle, Kokić is examining space- time- human relations, using the Comet as an metaphor for modern life. Struggling with her own problems and personal livings, the artist shows us what life is, and how we can use it for its purpose. The dialogue of the works with crowd is a reflection of intimate small talks that we all have inside ourselves, on everyday basis. The willing to stay alive and normal in 21st century separates from unconscious forms of life. As a repetition of several a lot look-a- like drawings, this cycle looks like frames from a stop-motion movie board. Composition of them tells a personal story that is dedicated to observers. Artists book have same idea when it comes to sending messages to the world. Most of them are unique, intimate and personal reflections on how and why we are here the way we are.

N. Radosavljević - „Saint family, artists book.

This work is consisted of five shirts unique, handmade for each member of family.

70 History of each member had been written through symbols and drawings shown on shirts. Used materials vary from paper to metal, etc. but all of them have strong symbol for every personality inside family circle. Book is created as separate objects which have strong connection and dialogue with Serbian culture of funerals and family graves. A culture, history and personal story are integral part of this costume-book that is wearable, and dedicated to artist’s family. The more we research the more we will be in temptation to experiment. And that is the point of those works I have mentioned above. The list goes on and on, and there will be no ending to the process of recognizing works of art that can influence contemporary artist book. I am sure that roots of it can be found in contemporary printmaking, but I don t think that printmaking media itself can be only practice into this. Artist’s books are much more than only one contemporary art practice and beauty of it is right in its shapes and forms, and there are many of them.

Reference: Ducker, J. (1995). The century of artists books. New York: Granary books. David, M. (2010). Night pleases us, 51.October exposition. Belgrade: Belgrade city museum. Paiva, S. (2013). Brasil, Shared labyrints. Brazil: Academy of arts in Brasili, department for scenography. Cvetić, M. (2013). Artists book. Belgrade: University of arhitecture.

Webography: Björk. Inside Björk. Documentary movie (1:24:54). Retreived last time at 21.10.2015, from: https://www.youtube.com/watch?v=w59XIpoywnE Emin, T. Work reviews- Tent. Online gallery. Retreived last time at 23.07.2015, from: http://www.traceyeminstudio.com/ Hawkins, D. Online galery, artists books. Saatchi store. Retreived last time at 19.07.2015, from: http://www.saatchistore.com/105-darrell-hawkins

71 STRUGGLE AND HARMONY - THE INFLUENCE OF EXISTENTIALISM ON MY WRITING

Han Zhi1 Shandong University of Arts

Abstract: Existentialist philosophy and existential aesthetics are the most important philosophical and aesthetic thoughts produced in the middle of the twentieth Century. It originated in Germany after World War II, flourished in World War II and after the post-war France. After the Second World War, the trend of modernity swept the world. With the advent of the modern era, the trend of „God’s death” has swept the Western civilized world. With the fragmentary and fragmented moral framework of religion, the sense of belonging and self identity in the society is in danger, and the individual is in urgent need of an individual. The theory of existentialism arises at the historic moment and has a great impact on the theory of alienation. Existentialist Aesthetics is also an important part of existentialism. All existentialist philosophers turn to the discussion of art and aesthetics in the pursuit of existing problems. In this theory, art and aesthetics have opened the existence of the existence of the existence of the existence of the existence of the existence of the existence of the art and aesthetics in this theory. Thus the art and beauty have obtained the theoretical significance. This theory has a great influence on the artistic creation after expressionism, and has also aroused my reflection on creation. Key words: existentialism philosophy, copper engraving, creation

The embodiment of Existentialism in my creation

In nineteenth Century, Kierkegaarda Danish religious philosophy psychologist was the founder of modern existentialism. In his book, he said, „a person who is absent-minded to his own life, and wakes up in the morning to find himself dead, only to know he has existed. This story has a great inspiration for my art study. From the undergraduate stage to the graduate school, I have been working on various forms of artistic creation. All of these works are created to fit a certain standard. Some of these works are in pursuit of some abstract nature. These self righteous truths are actually inaccurate, and some are created to pursue factions, labels, norms, the so-called sense of belonging and certainty, which I hope to avoid. These creations lead to my reflection on the creation of art. Art creation is the projection of the expansion of human consciousness in the real world, and does my creation run counter to the roots of the art? In this confusion, existentialist philosophy and aesthetics theory enlightened me. The birth of existentialism is in view of the lack of people’s belief in the process of modernization and the acceleration of the degree of alienation of human beings, as it is not the source of the world, but the point of view of Huxley’s Agnosticism, since the ability of people to recognize is not beyond the sense of human experience or The scope of phenomena cannot understand the nature and development law of things, then turn to the human existence it self.

1 [email protected]

72 Under the influence of the free revolution of modernity in the western society at the end of the nineteenth Century, a group of thinkers such as Sauren Kierkegaardand Huxley were born. They inherited the traditional religious ideas of the previous era, and realized the trend of the development of Western society in the nineteenth Century - the Christian civilization has become the past. Under the impact of this ideological contradiction, Kierkegaard’s mysticism came into being. It can also be called theism existentialism or Christian existentialism. On the basis of Kierkegaard’s mysticism, Husserl’s phenomenology and other doctrines, Heidegger, as the founder of existentialism, proposed three basic principles of Existentialism - „existence before nature, „the world is absurd and „free choice. As an accumulation of existentialism, Jean-Paul Sartre divides existence into the existence and self existence of freedom, the existence of which is the existence of an object and its own, and the existence of the existence of consent, and the essence of consciousness is that it is always self, and our understanding is always beyond the existence of freedom. The existence of human beings is always self transcendence. On this basis, Nietzsche developed the propositions of the theory of voluntarism - the will is the basis of the survival and development of biology, reason is the servant and tool of the will, thus the theory of Superman is extended, and after Jean-Paul Sartre’s Superman proposition Nietzsche has also extended the relationship between the man and the man. On the point of view. My creation and painting of copperplate are based on the three theories, which are divided into three parts.

„The Virgin Mary of existence” and Soren Kierkegaard’s mysticism

Sources of thought in the creation of the „Virgin Mary of existence”

What I first attracted to me at the beginning of my creation was the theory of mysticism. This mysticism was not the doctrine and religious rites of people who were able to gain more spiritual or spiritual power, but specifically the existentialism of theism that Kierkegaard proposed. As the origin of the modern existentialism in twentieth Century, Kierkegaard’s Christian existentialism has an important influence on the Post-war Western world and China’s religious, non religious and aesthetical existentialism. From the 19 world to the twentieth Century, it is a time period for the rapid development of modern science, and the authority of religion is almost completely disintegrated. Disintegration, the human society has entered the non religious stage with the advent of the modern period. For the western world, religion has always played a role of „big parents. The framework of all religious inclusiveness provides people with a sense of belonging and social identity, with the spread of the „God’s dead argument and the spiritual decline after the war. To retreat, people are in the middle of the spiritual crisis, and the existentialism of theism at the time of this time has put forward a solution to the religion and people’s modernity trend of thought.

73 As an existentialist, Kierkegaard first proposed to link everything to the existence of the individual, not to extract the essence from the objective world to understand life, and he brought this idea into his theological thought. In religion he opposed the rationalization of religious belief and opposed the essential God of religion. Instead of bringing the meaning of religion back to the problem of human existence (the existence of human beings), the rationalized and speculative belief is re drawn to the problem of human existence. This theory in his theory has aroused my creative thinking. In the course of the creation of the undergraduate and graduate students, the theme of religion has always been the subject of my concern and creation. My position on the creation of the religious subject is not a devout believer for a sectarian, and I am not interested in the doctrine of a sectarian, but a special collective meaning of religion and belief. I have a negative state of negation of religion in the later years of undergraduate study and visiting Christian believers in Tibet. It is the effect of a tool and a catalyst, whether it is a modern religion or a primary religion that provides a unified symbolic belief for the believers in order to achieve the desire to transcend their existence. In my view, the faith of the pilgrims in my heart is mostly in the state of religious anti - guest, which I have created „Under the faith (Figure 1) this print is my reflection. After the deep study of the postgraduate stage, I found that my understanding of faith and religion coincides with Kierkegaard’s existentialism, and existentialism thinks that there is no absolute, eternal truth in the presence of human existence, and theism is in the presence of theism. The significance of religion to man is to provide a space for self existence to expand the consciousness of individuals, and to provide religious values for human beings. My second printmaking of the new Virgin Mary (Figure 2) is based on this understanding. In this work, I used the image of an ordinary pregnant woman as the theme of the creation. The three pairs of faces overlap and the image of the different women. The child’s attachment to his attachment is overlapped by a variety of gestures and his body. The mother’s image is closest to the divine image advocated in the religion, and the mother symbolizes the symbol. The positive aspects of the self - existence of tolerance, kindness, hope and others are the expectations of the unknowable world, a desire derived from the inner sense of belonging and identity, and the embodiment of the love which is advocated by mother love in most religious beliefs, so I think the image of the pregnant woman is used to describe it. The role of painting religion is the most appropriate, and the face of the different ordinary people overlaps the image of the pregnant woman to obscure the image of the God in the religion and close to the ordinary people, to connect the religion to the existence of the existence of existentialism and the spiritual freedom of the human belief from the religious dogma. Emancipate them. Existentialism and religion are incompatible. In the face of the problem of human existence, the fundamental way of religion is to use theological means to affirm the world of ideas by means of denying the value of the present world, to determine the value of the shore and to affirm the value of the other side, while existentialism denies the existence of the other shore, and thinks that the only time of life is this time.

74 The opportunity is to determine the loneliness and meaningless of death and to make people cherish the life of this land. These two seemingly contradictory ideas have coexisted in Kierkegaard’s mysticism, and he transformed the subject of faith from theological theory to the existence of the individual, which gave great inspiration to my creation.

The technical characteristics of the creation of „The Virgin Mary of existence”

In the process of the creation of this work, many technical problems have been overcome, which is mainly reflected in the connection between the skill of copper printmaking to grasp the fine degree of the writing of the realistic characters and the form of the form between the lines and the images in the picture. The main application techniques of this painting are line corrosion technology, soft wax corrosion technology and flying dust corrosion technology, and finally the creation of the scraper.

In th(efigpurroec1e)ss of creation, thefirst step is line co(rfriogsuiroen3)(Figure 3). This step is a very important step to depict the changes in the structure lines and details of the main image. The characterization of the line corrosion directly determines whether the image is sturdy or not, and the line is the skeleton of the portrait. In this work, the longest line corrosion of one hour has been corroded to create a rough black line raised in the picture to emphasize the role of the character structure and the boundary line.

75 The rough and convex line effect is also the unique art language of the copperplate art. In addition, in the process of online engraving. I also referred to the processing methods of character lines in the art of bronze paintings by Toman Hnimain, a foreign art editor, to make the figures more expressive. After online corrosion, it is a step of flying dust corrosion, which is different from the previous stage of my creation. It requires more layers of dust corrosion and how to deal with the natural transition from dust corrosion to the natural body is one of the difficulties in this work. So I adopt the system of delamination corrosion of fly dust. Version technique, the method of flying dust stratification starts from five seconds of the bright part of the human, to the background black cloud one to three minutes, then to the intersection of the dark-dark and dark areas for thirty minutes, a total of eleven corrosion levels, generalizes the colors of the whole picture, distinguishes the level of the picture, and then flies the dust of the dust of the dust. The scraper focuses on the excessive hue between different levels, and scrapes the dark reflection of the characters, so that the concrete characters are more realistic. And on this basis, it also carried out two fly dust, to further fill the image of the characters, and the overall intensity of the background clouds and fog finally presented a close to the Western religious painting, solemn and rigorous picture effect.

„The boundary of self existence” and Nietzsche’s voluntarism

The ideological basis of „the creation of the boundaries of self existence”

With the deepening of study, after Kierkegaard’s mysticism, the study of the voluntarism of Nietzsche, which was the same as an existentialist pioneer, had an important influence on my creation. Nietzsche, as an extremely important philosopher in the nineteenth Century and the founder of western modern philosophy, did not need to overburden his academic achievements. This article focuses on the influence of his theory of voluntarism and the development of Existentialism on my writing. Compared to Kierkegaard’s conservative religious view of human consciousness, Nietzsche criticized religious morality and modern reason more extreme.

(figure 3)

76 He believed that the spiritual life of the Europeans, the value of life, and all human beings were entrusted to God for more than two thousand years, although the foundation of the existence of the emperor has begun to disintegrate since the enlightenment. In the absence of new beliefs, people still believe in God’s reverence for God, so he made a break through the mouth of a mad man, „God is dead! People should build new beliefs - they believe in themselves, build their own values that are always central, that is, the source of their „Superman theory, which is the most attractive point to me. One of the most important achievements of existentialism is to make people pay attention to life and explain to the existence of life. The biggest difference between Nitzsch and Kierkegaardis that Kierkegaard’s answer to the meanin of human beings appeals to religion and lets people find their answers from their beliefs, while Nitzsche disdains it. The worship of religion believes that man should believe in himself and create Superman for himself. The meaning of human existence should be answered from the perspective of self transcendence. At the same time, Nitzsche explained to me his creation of spiritual freedom. He called himself „the most thorough nihilism in Europe, but his theory was for transcending nihilism. Nitzsche thought that all the academic, theoretical framework, ideas and truths were only human interpretations, Platon’s ideal country, Christianity The moral order of the Heavenly Kingdom and the world is the product of human beings. It is restricted by the limitations of human experience and does not have ultimate objectivity. „God is dead contains this meaning, symbolizes the advent of nihilism, and the death of the concept world brings the crisis of loss of ultimate value, and Nietzsche will take this The loss of value is regarded as the opportunity to establish a new value. When people get rid of the longing for the eternal value of nihility, we can get real spiritual freedom, which has a profound influence on my creation, thus creating the boundary of self existence in the copper print work (figure 3) The work of „the boundaries of self existence is not a direct continuation of Nietzsche’s theoretical creation, but an indeterminate view of Nietzsche’s own views on the boundaries between man and man, personal consciousness and collective consciousness. The theoretical basis of Nietzsche’s individualism is the self transcendence of man, and it thinks that in order to achieve self transcendence, one must create a higher nature than ourselves, and unlike the religion that shapes idols, Nietzsche thinks that the essence that is higher than us must be ourselves, for this higher nature derives from human uncertainty, The unfinished nature is self - existence, so Nietzsche draws a conclusion: „man must believe in itself but I think that in Nietzsche’s theory, it only talks about the existence of a person, the existence of a person and its environment, and in the relationship between himself and others, everyone believes in itself, and it is only self - self. How can we establish the relationship between individuals and others if we have future uncertainties? I think people always think of others as an object. In a variety of relationships, they regard others as a „thing. They tend to ignore the subjectivity and subjectivity of others. More importantly, it is important to ignore the influence of others’ consciousness on the free subject of „me.

77 We always try to save „I from the consciousness and eyes of others. And then they try to control the influence of others, and this is why I understand Jean-Paul Sartre’s „hell. The copper print work (Figure 3) is mainly trying to express my question about where the boundaries of self and others are in the situation of „others are hell. In the picture, the body of women suspended in the dark grey cloud and representing the self consciousness of „me, the fuzzification and the overlapping of the surrounding clouds are exactly how people interact and examine each other in a social environment, and the consciousness of others constantly invades the boundaries of self, making this limit It is indistinct and painful, but „I rely on others’ scrutiny to determine the existence of self, so is human existence confirmed only by the static observation of others’ scrutiny? I know that the examination of others can only determine a past self, and the real determination of human existence is only the behavior of the human being, just as the self in the cloud of others, only such behavior and choice is the fundamental way to achieve personal spiritual freedom, and the resistance and „self between „others and „self. The freedom of me formed harmony and coexistence.

Technical features of the creation of „the boundaries of self existence”

This work uses the multicolor technique of copperplate, and achieves the hazy illusion effect by controlling the color saturation of the set. The specific plate making process is divided into two parts: the creation of the floor (texture version) and the creation of the character plate. The creative inspiration of the floor is derived from the artistic conception of Chinese landscape painting and the artistic language of Albrecht osener, a modern German artist. The bottom plate shows a landscape of the cloud landscape, which is summarized by the intensive lines, and the seemingly disorderly lines imply order and law. I am aware of the chaotic and unordered world of consciousness. The making of the base plate is different from that of the general etchings. It is not made of bituminous anticorrosion, but is made by using soft wax technology. The characteristics of the asphalt anticorrosion line are fine and fine, and the changes of the lines are less, and the soft wax technique is more flexible in the line size, the change of the virtual reality. The screen is just through the use of this technique, the use of the lines’ density change and the thickness comparison, and the blank space between lines and lines. It has completed the performance of cloud and fog in this picture. In order to express the cloud level more clearly, the etching time of the plate is divided into 6 levels, which are 5 minutes, 10 minutes, 15 minutes, 30 minutes, 45 minutes, 60 minutes, and the corrosion time in the overprint area is reduced by one times as a whole in order to make the color saturation of the image area more powerful. The level of the outer cloud in the printing area is 15 minutes, 30 minutes, 45 minutes, 60 minutes and four levels from bright to dark, while the layers in the overprint area are 5, 10, 15 and 30 minutes, which makes the color of the characters on the bottom plate light and clear.

78 The production of the character’s color version only uses the technique of flying dust. In order to appear the obscure and illusory figure in the creation stage, I have directly abandoned the steps of the line engraved stage in order to prevent the character image from being too tight. During the production process, the characters are directly printed on the zinc plate with no coating on the anticorrosive coating, and then directly baked with the fly dust. In the process of flying dust, in order to make the figure appear dim and illusory picture effect, in the dust corrosion anticorrosion, a layer of shallow corrosion time is reserved in the edge of the character. The area of the dust corrosion is 1 to 2 centimeters more than the edge of the figure. After the end of the corrosion, the edge part of the scraper is modified to make the figure appearance. The fuzzy effect of the edge line is not clear. In the process of overprinting, it is different from the usual edition in the way of printing on the paper. In the process of printing, it is used in the printing process. The concrete operation needs to put thin felt on the pad first, and the first edition of the bottom plate is fully moist and wipes away the water stains. The picture is placed up and on the thin felt, then the color plate is buckled on the first edition, so that the character image on the color plate is kept in the middle of the first edition, and finally again It is covered with thick felt and printed, and finally shows the effect of Figure 3.

Jean-Paul Sartre’s atheism existentialism inspires artistic creation

In the study of existentialism, I realize that we are always habitually tucking things we perceive into the framework of our own creation. We are only concerned with the existence of things without recognizing the existence of the existence of the existence of the existence, the essence of human beings is simply in the world, and is not in essence. What is the existence of meaning or value, but after all, man is a combination of freedom and freedom, and the existence of self existence along with consciousness is higher than the existence of human nature, which constantly drives people to seek self transcendence and seek the meaning and value of existence, so beauty and art are the activities of personal consciousness. The advanced product of nature becomes a witness in the process of pursuing the meaning of existence. It can be said that only by beauty and art can the existence of the being be opened. The aesthetic concept of existentialism revolves around the existence and sublimation of human beings, but the relationship between beauty and human is very different from expressionism. In history, expressionism is an artistic proposition that appeared in the former period of existentialism, and its aesthetic expression is based on the vitality and emotion of human beings. On the basis of expressionism aesthetics, expressionism can achieve beauty in itself, while existential aesthetics is also around the existence of human beings, but not the existence of such natural freedom as vitality and emotion. This existence does not have any meaning and internal capacity, only with many possibilities, when this exists. When many possibilities are carried out in the real person, when the natural self exists toward the true existence, and when the consciousness of man moves toward the direction of self transcendence, when the true existence appears to the free man, beauty is born.

79 And existentialism sees true existence as truth, so the truth and beauty are reunification here, which is the reason that almost all existentialist scholars have discussed the last unconsciously turning to aesthetics and art.

The inspiration of Existentialism in modern painting to me

The influence of Existentialism on Western Aesthetics in the twentieth Century was more than all other philosophies of the same period. The whole philosophical belief penetrated into the field of aesthetics and art, and discussed the development of aesthetics in twentieth Century. The principles of existentialism will be a large part of the philosophy of existentialism, and freedom and thinking is the basic core of existentialism. It is an important ability to endow human beings with the basic features of the world and its existence, and art creation is one of the main actions of free human activities and one of the important ways to expose the real existence. Most of the existentialist follows Nietzsche’s belief that „God is dead and that the art they create is largely devoted to the absurdity of the human situation, for the existence of the world itself is absurd in the understanding of the existentialist, and that there is no meaning in itself, so the absurd world is no longer suitable for people. The desire for class and meaning and framework. One of the most attractive points of this artistic concept is that he looks at beauty and art from the perspective of „inspiration. It is more representative of art and formalistic avant-garde, and the world of theory and concept is the aesthetic theme of existentialism. Imagination is more related to freedom. When an artist shows the way to the world of other ways of living in the world and may change it, this „imaginary world expression is a free act, a feasible way to achieve freedom, and the creation of the world of imagination is a process of self transcendence of human beings. Mapping is, in my view, more closely related to the original intention of artistic creation. At the same time, existentialist artists tend to interpret their own artistic mission as inspiration and appeal, which determines their tendency to use representative methods for artistic creation and to oppose formalism and purism. This is one aspect of my more recognition, but this concept is with a lot of modernism. There is no doubt that this form of expression is undoubtedly the most suitable way for the existentialist to understand the real world rather than the idea of the century. The representative character of this kind of creative idea is Ali, and his painting idea has a great influence on me. Arikha’s painting style is mainly the final return and the representational creation of the early abstract period. The process of the transformation is the process of Arikha’s structure and expression of existence. As his statement says, „I feel the pleasure of depicting what I see in my eyes. For me, to give up the skills I have mastered, try not to do it.. To induce, create and deconstruct, we only need to follow and catch what I see and experience with lines and strokes. This is the main idea of the esthetic thought of Ali’s existentialism. In his creation, Ali is introspecting on the idea of the abstract painting that instructed him early, and questioned whether the connotation of the abstract painting originated from the heart and reflected the existence of the human being. He thought that this kind of painting was a mechanized rigid and rigid.

80 Drawing language, out of thinking about the value of the existence of art, alicas gave up the form of formalistic abstraction and sought to seek the value of the existence of things itself. It was his ideological change that inspired me very much. The western paintings before the nineteenth Century had been pursuing the reappearance of reality and abstracted. The pursuit of painting is to reproduce the world of ideas. Expressionist painting is pursuing the expression of inner emotion. The existentialism of Arca’s existentialism is very similar to the pursuit of Chinese traditional painting. His representational painting seeks to reveal the truth of the appearance of things, in Ali. In the painting, I feel more about the truth that the author caught in the corner of his daily life, similar to the flash of a general sense of visual freshness in the light, and a short time to describe the painter’s understanding and perception of the objects described, which is the most close to the true existence of the unconsciousness. I realize that every tiny existence in our life is meaningful, and that the existence is always uncertain, constantly looking for the meaning of the existence, and showing it in the picture, transferring the priori to the work in order to achieve the existence of the world. This is the important inspiration of Existentialism in modern painting to me.

Reference: Hegel, Aesthetics, Volume I to III, Commercial press. (?) Friedrich Nietzsche, Chala Matus said so. (?) Jean-Paul Sartre, Existence and nothingness, New knowledge triple bookstore publication. (?) Sauron OBE Kerr, Kay Guo, This or that, New book Sanlian bookstore. (?)

*Until the closure of this publication editing, the author of the article have not confirmed validity of enclosed list of literature.

81 Illustrated talks

82 THE UNIVERSALITY OF THE CONCEPT OF MATRIX IN THE PROCESS OF VISUAL ARTS EDUCATION

Teresa Anna Ślusarek1 Jan Kochanowski University Institute of Fine Arts Kielce, Poland

Abstract: The multilevel structure of the graphic recording facilitates the application of the means of expression borrowed from other art disciplines and develops enormous educational potential which can be addressed at people at different ages, regardless of their manual skills. I consider the process of graphic creation, both conditioned by technical restrictions as well as free from technological requirements, to be a perfect opportunity for experimentation and activities that make it possible to develop individual artistic creation and to teach graphic techniques. The workshops proposed by me refer to the universal aspect of the term matrix understood as a natural and processed carrier of encoded information present in contemporary culture and the primary meaning of a matrix as a natural trace. The workshops take place in the open public space and also in galleries, arts and culture centers. The methods and techniques inspire spontaneous, individual or group activities. Its experimental character, a creative role of chance and the possibility to form matrices out of physically and visually distinct materials, vastly influence the choice of techniques. Workshops in the public space are based on the idea of artistic and creative actions including the participation of the spectators. They refer to the tradition of process art when the very creative process and the actions performed by its participants acquire a special significance. Formed this way a „graphic in action” undergoes constant and irrevocable transformations of temporal and spatial character. Keywords: graphic workshops, Arts education, matrix.

Workshops

The process of creating a graphic print, both adhering to technological rigors and freed from them, is a perfect area for workshop experimentation. The places and spaces where the workshops were held constituted one of the factors in the choice of techniques and methods. The main objectives of workshops are: - developing individual creativity, - teaching graphic arts techniques.

1

1 [email protected]

83 Workshops in an arranged studio, Juvenalia 2008, City Park in Kielce, conducted by the students of the Institute of Fine Arts, The Jan Kochanowski University in Kielce.

Workshops programme is addressed at audiences of different age-groups and with various visual arts skills. Workshops venues were: a) Open city spaces, such as squares or streets. Being both organizers and direct participants of the workshop, provides students with an opportunity to broaden their knowledge of the techniques used, and to develop the skills necessary to promote visual arts activities in their local communities. b) Art galleries, museums, community centers, art centers.

Family graphic workshops

Family graphic workshops for parents and their children working in the techniques of linocut and drypoint. Workshop scenarios were based on: - selected forms of artistic activity, - the specificity of graphic arts record,

84 Venue: ZPAP Galley Tycjan, 2009. Graphic workshops within the project by the Association of Polish Visual Artists, the -KimieplcleemAreenati-n„gVimsuoadl eArrntsmLeatbhoordastoarnyd”. techniques of activation. The idea of the workshops made reference to: -the tradition of process art with the central position of the creative process itself and the activities of its participants, -experimental happenings where members of the audience become participants of an artistic event, -interactive activities stimulating actions of the participants (their aim is to externalise the sphere of emotions thus influencing the unfolding of the following events), -the creative role of chance, -principles of environment and in particular the possibility of free movement of authors and audience among the objects created.

Un-Natural Matrix - Hands and Feet

The title of the workshop „Bez chodzenia nie ma sztuki (No walk, no art) makes reference to a saying by a British artist and photographer, Hamish Fulton: „No walk, no work. Participants of the workshop were students of visual arts education at the Institute of Fine Arts of the Jan Kochanowski University in Kielce, and students of the Józef Szermentowski State Visual Arts School in Kielce (with their teacher, Małgorzata Łągiewka).

85 „No walk, no art art workshop. Venue: Breakfast At Tiffany’s – Fashion like Jewellery Exhibition (The Sosenko Family collection); WINDA Modern Art Gallery in Kielce, 2014.

The process of creating an imprint from a matrix/plate, freed from strict technical rigors, is considered a perfect area for experimentation. The undertaken activities enabled both the development of individual creativity and the teaching of traditional linocut technique (the making of the project, the plate/matrix and the imprint). The principles of the workshop were: - direct reference to walking as a basic human activity, - untypical printing process through matrix multiplication, where the matrices are constituted by footprints, - the spontaneity of the act of printing resulting from free movement in the gallery space,

86 - including into the graphic art process such factors/variables as space, light, movement and sound (Breakfast at Tiffany’s soundtrack), - disconnecting the graphic image from traditionally understood background material, moving it into open space, - providing a new context for the exhibited items, - giving ample opportunity for self-creation/self-expression through including movement into the creative process.

Graphic art workshops in public space

Second series of „Traces Workshops: Openwork Matrices were based on the idea of creative activities with the participation of the audience. The workshops make reference to the tradition of process art with its focus on the creative process itself and activities undertaken by its participants and authors. The emerging „graphic art in action undergoes constant transformations in time and space, without any possibility of returning to previous stages. The workshop scenarios were based on the following principles: -an easy procedure of preparing the matrix/plate, -the creative role of chance at the moment of printing/imprinting, -multiplying the matrices over large areas, -the possibility of creating images on surfaces and in space.

„No walk, no art art workshop. Participants: students of visual arts education at the Institute of Fine Arts of the Jan Kochanowski University in Kielce, and students of the Józef Szermentowski State Visual Arts School in Kielce.

Stage 1: creating printing forms out of paper or cardboard though simple manual activities such as cutting and tearing. Open work printing forms of various shapes functioned as: -matrices for printing on paper or fabric, -objects suspended in space. Stage 2: activities on surfaces and in space space - creating a collective graphic record -matrices as stencils or moulds imprinted on rolls of paper, -multiplication, overlaying shapes and colours,

87 -matrices and prints were suspended in space as mobile objects build of colours and forms, open to space, light and movement.

Stefan Mrożewski’s Woodcut Blocks

A series of graphic workshops in an arranged studio at the exhibition entitled Stefan Mrożewski’s Woodcut Blocks, Artist’s Techniques, National Museum in Kielce, Kamienica pod Trzema Herbami, 2010 (organised with dr J. Baran). The simple techniques and methods used inspired spontaneous creative activities. The workshop scenario took into account the specifics of the exhibition arrangement: -the exhibited items included over 180 woodcut blocks, 50 prints and the artist’s tools, -the possibility of touching the selected objects (some woodcut blocks) and examining them through a magnifying glass, -printing with the authentic Stefan Mrożewski’s woodcut blocks (Teresa Anna Ślusarek and Janusz Baran).

A series of graphic workshops in an arranged studio at the exhibition entitled Stefan Mrożewski’s Woodcut Blocks, Artist’s Techniques, National Museum in Kielce, Kamienica pod Trzema Herbami, 2010.

88 The main principles of the workshops: -adhering to the traditional form of the graphic art process: idea – project – preparing the matrix – print -at each stage, introducing additional activating elements which stimulate imagination, -individuation of the creative process depending on skill, imagination and psychophysical characteristics. Stage 1: an idea -tactile analysis of woodcut blocks and other selected objects, -visual analysis of their hidden structure with the help of a magnifying glass. Stage 2: making the project using some elements of mind mapping technique -creating mind maps of thoughts and associations with the help of various tools and techniques (drawing, painting, collage). Stage 3: -creating a matrix (according to the project) in a selected graphic art technique: drypoint, linocut, woodcut, -or spontaneous action in chosen material: wood, zinc or copper plate, cardboard, foil, -using tools in unconventional ways. Stage 4: creative aspects at the printing phase -using paints and background materials of various characteristics, -manual or press-printing.

89 TRANSGRAPHIC MIGRATIONS/PARALLELISM OF TRADITIONAL AND CONTEMPORARY CREATIVE METHODS/GEO.GRAPHY OF ART

Teresa Anna Ślusarek1 Jan Kochanowski University Institute of Fine Arts Kielce, Poland

Abstract: Transgraphic Migrations - academic and artistic project run at Jan Kochanowski University in Kielce as a statutory research (UJK) since 2014 funded by Ministry of Science and Higher Education. The project is an attempt to record the „wandering” of a graphic particle in the field of traditional artistic disciplines and new forms of visualization. The subject of the analysis are the attempts to reactivate broadly understood „matrix”, a graphic process as a creative method leading to an individual and experimental search for new forms of visualization. It is also accompanied with theoretical considerations on the creative process, project and workshop targets and reflections on the results of technological development and its participation in the creation of individual iconography. The creative experiment encompasses a combination of classical, unique and digital techniques, an interference in the surface of the printout by means of an application of tools from other disciplines, and the usage of unconventional materials and technological means. The project addresses the issue of universality of arts, the importance of traditions and geographical regions in the creation of artistic identity. It is focused on various aspects of formal quests, technological changes and their philosophical background. The project expresses the present tendency towards artistic uniqueness, achieved through the application of contemporary art forms, a reactivation of traditional and historical means of expression and the application of specific aspects and experiences of the arts from other cultures. Transgraphic Migrations - resulted from the cooperation of Jan Kochanowski University artists with a group of artists from other academic centers: The Jan Strzemiński Academy of Art in Łódź, Jan Długosz University in Częstochowa, Silesian University in Katowice , University of Technology and Humanities in Radom and the artists from Wrocław Keywords: graphic process, matrix, unique techniques. 2 Transgraphic migrations

Academic-artistic project run at Jan Kochanowski University in Kielce as a statutory research (UJK) since 2104 funded by Ministry of Science and Higher Education. Project coordinator is Teresa Anna Ślusarek. The project Transgraphic Migrations resulted from the cooperation of Jan Kochanowski University artists with a group of artists from other academic centers: The Jan Strzemiński Academy of Art in Łódź, Jan Długosz University in Częstochowa, Silesian University in Katowice, Kazimierz Pulaski University of Technology and Humanities in Radom, and visual artists from Wrocław. Participants of the project: Grzegorz Banaszkiewicz, Janusz Baran, Małgorzata Bielecka, Barbara Czapor-Zaręba, Tomasz Chudzik, Piotr Ciesielski, Andrzej Dudek-DUrer, Andrzej Fydrych, Dariusz Kaca, Tomasz

1 [email protected]

90 Kawełczyk, Henryk Królikowski, Krzysztof Kula, Ryszard Ługowski, Marzena Łukaszuk, Andrzej Markiewicz, Zdzisław Olejniczak, Krystyna Szwajkowska, Piotr Stachlewski, Halina Stawowy-Dombrowska, Barbara Szyc, Magdalena Szplit, Teresa Anna Ślusarek, Rafał Urbański, Danuta Wieczorek, Krzysztof Wieczorek, Katarzyna Winczek, Zdzisław Wiatr, Witold Zaręba, Maciej Zdanowicz and Katarzyna Ziołowicz. In the creative process of the artists who participate in the project, the tools and technologies may vary, but the artistic idea relates to the broadly understood matrix and defines its traditional and new functions.

Krzysztof Kula – „Transformation Matrix

matrix (physical) → trial by fire, trial by water (performance) → dematerialisation → reactivation (performance) → graphic installation (visual matrix, graphic objects)

„Elevation, 2014; 3D graphic installation; mixed media: banaskop, stereoscopic photography, prints, matrices, mirror, leaves, hay, ash, performance; in cooperation with Grzegorz Banaszkiewicz – graphic space visualisation.

„Panta rhei, graphic installation, graphic, video, mirrors, wood, paper, 2015.

91 Printout → spatialisation (‘ritually’ winding upon big and small cylindrical forms) → trial by water and fire (performance) → reactivation (graphic installation)

Katarzyna Ziołowicz – „Un-Real Matrix

Untitled, from the cycle „Crossed dimensions, 2014, own technique, 100 x 70 cm.

92 Teresa Anna Ślusarek – „Transparent Matrix

On the left „Changing the Field of View, 2014; on the right „Titanic, own technique, 70 x 100 cm, 2014.

Dariusz Kaca - Matrix Spatial Object

„Turned, spatial object reduction woodcut, Hahnemuhle paper 300 g/m², 162,5 x 39,7 x 14 cm, 2007.

Parallelism of traditional and contemporary creative methods

Grzegorz Banaszkiewicz

The author considers the artistic cooperation with representatives of science as a return to the traditional graphics. In the past, artists joined scientists, anatomists, and doctors in the process of a graphic description of the world, its phenomena, laws and peculiarities.

93 On the left a series of 2D images used as a 3D animation in the installation „The Forbidden Fruit – Non-metaphorical Self-Portrait; on the right „Banaskop.

Andrzej Dudek DUrer

„iving Sculpture, 2004-2009.

Rafał Urbański

„QR Flame War, diptych; acrylic on canvas + 2 x video, 120 x 200 cm, 2016.

94 Katarzyna Winczek

Mappa VIII; etching, soft ground; 70 x 50 cm; 2017.

95 Panel session

96 97 98 99 3rd International PrintMaking Biennial Publisher: The Multi-Original Art Platform Cacak For publisher: Dragan Dobrosavljevic Editor: Milos Djordjevic, Dragan Dobrosavljevic Graphic design: Zoran Dobrosavljevic Translation and transcription: Valentin Nikolic Photography: Milanko Rogovic The conception of the layout: Milos Djordjevic, Snezana Dobrosavljevic, Vesna Petrovic Technical realisation of layout: Vanja Brajovic, Dobrosav Dobrosavljevic Biennial logo: Dragan Dobrosavljevic Printing and binding: „Intranet Belgrade Circulation: 100 Cacak, 2019.

CIP - Каталогизација у публикацији Народна библиотека Србије, Београд

76"19/20"(082) 76:069.9(497.11)"2018"(082)

МЕЂУНАРОДНО бијенале графике (3 ; 2018 ; Чачак) Book of Proceedings : academic Papers / 3rd International PrintMaking Biennial, Cacak, Serbia ; [editor Milos Djordjevic, Dragan Dobrosavljevic ; translation Valentin Nikolic ; photography Milanko Rogovic]. - Cacak : Платформа за промоцију уметности Мултиоригинала = The Multi-Original Art Platform, 2019 (Belgrade : Intranet). - 95 str. : ilustr. ; 21 cm

Tiraž 100. - Str. 10-11: Printopia / Milos Djordjevic. - Napomene i bibliografske reference uz tekst. - Bibliografija na kraju većine radova.

ISBN 978-86-900635-1-2

а) Међународно бијенале графике (3 ; 2018 ; Чачак) -- Зборници б) Графика -- 20в-21в -- Зборници

COBISS.SR-ID 278027276

100 101 ISBN 978-86-900635-1-2

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