PR!NT catalog (first edition - nov 2015 - work in progress)

IMPRESSIONS & EXPRESSIONS EDITIONS & SEDITIONS PRINT IN ART TODAY

SEPTEMBER 11—› 18 2015

WORKS BY STUDENTS FROM THE INTERNATIONAL PRINTMAKING UNION

YOUNG ARTISTS CONTEMPORARY MASTERS AND CLASSICS

LA CAMBRE GALERIE 425 425 AV. LOUISE 1050 BRUSSELS

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“Print, in its duplication, repetition and dispersal, saturates contemporary culture.

It embodies communication, demarcates economic values and archives past and present.

“From the first woodcuts of the Renaissance up to the digital era, printmaking practices have known many faces and uses.

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Perverse and pervasive, print underlies and fuels creative output from the initial stages of research to production and presentation.

In its promiscuous ubiquity, it becomes invisible - from supermarket packaging to the typography of museum labels, we stop seeing the layers of printed intent and content with the abundance of printed matter surrounding us.

This characteristic invisibility makes it a perfect lens through which to look at art practices today. How does awareness of print processes inform and influence contemporary studio practice?”

Holly Graham and Weixin Chong,

Thinking Through Print,

Royal College of Art, 2014

Illustrations, soup labels, graphic novels, comics, advertising billboards, traffic signs, banknotes, clothing, ancient, modern and contemporary art productions…

The printed item is everywhere, it has become a standard part of daily life.

PR!NT — Print In Art Today is bringing together artworks using all kinds of printmaking techniques and artists of different generations, with an emphasis put on the different tracks explored by its creators, from a point of view that is at the same time historical and conceptual. This exhibition also confronts different practices, from the traditional to the newest forms.

To place oneself in an historical perspective while actively taking part in the world today, to evolve technique and engage with issue... Art and Print become inseparable.

Julie Donck, Master student at

ENSAV La Cambre, 2015

Print in art today, est le titre d’une exposition « laboratoire » qui s’est tenue à l’Ecole La Cambre du 11 au 18 septembre 2015.

Une exposition laboratoire car La Cambre est avant tout une école d’art c’est-à-dire un lieu d’enseignement, de recherche, d’expérimentation, de confrontation, et toute exposition qui s’y déploie n’a d’autre ambition que de montrer ce qui se joue dans nos ateliers, ce qui s’y produit et s’y discute –le montrer au public, aux étudiants, aux artistes, aux professionnels de l’art, et recevoir en retour leurs impressions et leurs impulsions critiques.

Un laboratoire d’autant plus expérimental qu’il réunit 60 artistes, toutes générations confondues, 5 écoles d’art européennes, une maison d’édition et un musée ; les œuvres de grands maîtres y côtoient celles des professeurs artistes et les travaux des étudiants.

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Le principe curatorial n’est pas celui de la sélection mais plutôt celui de l’accumulation –des techniques, des formats, des points de vue, des héritages, des ruptures …L’exposition est aussi un rendez-vous. Le 3e du réseau européen Print Making Union en train de se construire, à travers des workshops, des Master classes, des échanges Erasmus ...

C’est une préfiguration du projet d’exposition programmée en 2018 par le Centre de la gravure et de l’image imprimée à La Louvière.

C’est un prétexte enfin : une manière d’ouvrir, dans la matière même de l’art, une nouvelle année scolaire et d’accompagner les Brussels Art Days, la « rentrée » des galeries bruxelloises.

Merci à tous ceux qui ont rendu cet événement possible. Et … à bientôt !

Caroline Mierop, directrice

Ecole nationale supérieure

des Arts visuels de La Cambre

Art In Print Today

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PR!NT — is an exhibition and an event. It is also a stage in the research network of the Printmaking Union where there are future plans that include an exhibition at Le Centre de la Gravure et de l’Image imprimée, La Louvière in 2018 and developments towards an application for a Creative Europe partnership project.

At La Cambre - Gallery 425 there is a context of past present and future. Initially we could see the works from the La Louvière collection as past, the works from professors and staff as present and the student work as future.

We can also perceive how technical production shifts back and forth through time, shared and relearned. We can also consider the global impact of social conditions, political issues and cultural values affecting what artists think about and their decisions about production. Tradition and innovation stimulates a constant revising of how technique operates and how artists recombine and introduce new conditions. Digital processes and information have engaged the screen in all its dimensions, in spatial projection, in multiplicity of location, while sound and sonic fields are mirroring the pervasive quality of contemporary multi media environments.

PR!NT — provides a timely opportunity for the partners of the Printmaking Union and the Erasmus exchange program to meet, present and discuss what is urgent.

Staff and students will share a platform of practice, process and research. There are opportunities for both formal and informal gatherings and documentation will permit the wider event to be critically engaged with, shared in the educational and professional fields and further developed as a result.

As an interdisciplinary medium printmaking has always been the method to convey important every day issues and to investigate the continuum of immediacy in series and editions. We are witnessing a resurgence of the engagement with the mechanics of reproduction where boundaries are diminishing but the requirement of relevance has never been more testing for the artist.

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The Masterclass on Friday September 11 enables staff and students to engage across the field of practice and research and will provide the project with important exchange and dialogue.

We are fortunate that PR!NT coincides with Brussels Art Days, the city wide event that marks a new season for the Arts and we’ve been pleased to be hosting this year Brussels Art Days - Sunday Brunch.

ENSAV La Cambre would like to thanks all of those who have contributed so generously to realise this exhibition and event.

Alain Ayers

Index list by institutions

ENSAV La Cambre

This publication proposes a radical alphabetical order, without further distinction between artists.

JULIE DONCK

17

MAURA BIAVA

67

PAULINE EMOND

19

HELMUT SMITS

67

LÉO FRANÇOIS

22

DANI TUL

67

SAMUEL GORDEY

25

PAUL VAN DER EERDEN

67

JULIA LEBRAO

41

EWOUD VAN RIJN

67

ANNE-SOPHIE MATRELLA

50

From collections

JULIET MERIE

54

ANNABELLE MILON

56

JEAN PIERRE MULLER

60

FRÉDÉRIC PENELLE

63

ALIZÉE QUITMAN

70

HUGO RUYANT

74

Centre de la Gravure, Jean Pierre La Louvière Muller

JEAN-MICHEL ALBEROLA

8

Print Room

ALAIN JACQUET

27

CHRISTIANE BAUMGARTNER 27

27

ROY LICHTENSTEIN

27

JOAN MIRÓ

27

FRANS MASEREEL

27

LUC TUYMANS

27

ROBERT RAUSCHENBERG

27

Koninklijke Academie voor Schone Kunsten

Hochschule für Grafik und Buchkunst

Central Saint Martins

KOYUKI KAZAHAYA

51

ELLEN AKIMOTO

ROLINA E. BLOK

27

KATJA ANGELI

17

INGRID LEDENT

51

CHRISTIANE BAUMGARTNER 46

CATARINA CUBELO

27

DANIEL CLARK

17

VIKTORIA NICKEL

51

CHRISTIAN BOLD

46

PAUL DEWIS

27

KATE FAHEY

17

ANTOINETTE BELIN

46

ALEX DIPPLE

27

EVA LERCHE-LERCHENBORG 17

OLIVER COSSACK

46

ALICE KEMP

27

BOB MATTHEWS

17

INGO DUDERSTEDT

46

CAMILLE LEHERPEUR

27

ROB MILES

17

JOHANNES ERNST

46

NICOLA LORINI

27

SCARLETT MULLER

17

ANTJE GILDEMEISTER

46

JEREMIE MAGAR

27

JO STOCKHAM

17

STEN GUTGLÜCK

46

HARLEY PRICE

27

ANNA MAGDALENA KEMPE

46

JAMES TAILOR

27

JENNIFER KÖNIG

46

SUBASH THEBE

27

JONATHAN KRAUS

46

KLARA MEINHARDT

46

SOENKE THADEN

46

SILAS MÜCKE

46

LARISSA MÜHLRATH

46

MALTE PÄTZ

46

STEFANIE POJAR

46

OLGA MONINA

46

EVA WALKER

46

RAFAEL RODRIGUEZ

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46

Royal College of Art

Ellen Akimoto

SEE ↓ HGB LEIPZIG ‘SCREEN’ PORTFOLIO

10

Jean-Michel Alberola – 1, 2

SEE ↓ CENTRE DE LA GRAVURE, L A L O U V I È R E

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Multi-talented artist, painter, cartoonist, filmmaker, Jean-Michel Alberola places great emphasis in editions, realized since the 1980s.

As he said himself, the editioning work is his only permanent activity: a political action underpinned by the idea of transmission, towards a sharing and democratization of the art market. This taste for print is also closer to the acute awareness that JeanMichel Alberola demonstrates of «coming after» so many masters or thinkers, whose published tracks he collects: texts, documents, photographs, postcards ... that he then incorporates in his own publishing work.

The artist chose the path of «poverty» both in his thinking and in its implementation. He draws with acuity and intelligence in the vast crucible of Art History and History, basing all his work on a system of recovery and appropriation of existing words and images, to which he tries to give a different colour and a new meaning.

Wielding words and ideas from our vast world with both mischief and finesse, Jean-Michel Alberola assembles them in a different order: a kind of Meccano game with unstable balance, out of which new interpretations arise. The images call for reading, the words are looked at like images, in a clash and agitation where old times come to the rescue of our present times.

«I use things that I find ... I have a flea market spirit »; this is a snoop’s discourse, from a man eager to capture traces of the world, and it makes of Jean-Michel Alberola a smuggler of ideas and a peddler of images intended to shake up the spirits and derail our consciences. It corresponds to a constant interrogation on how the artist can contextualise his works and approach printmaking.

Diversifying mediums, formats and techniques, Alberola claims no hierarchyamong its various processes; lithography mixes with offset, screen-printing blends with typography, as well as etching and drypoint. Likewise, he approaches with the same jubilation the making of posters, books, postcards, brochures or leaflets. Similar attention is given to catalogues and artist’s books.

WORK TITLE

Déperdition, conversation, équilibre...

TECHNIQUE

Lithography TYPE OF PAPER OR OTHER MATERIAL

Paper YEAR

2010 DIMENSIONS

76,2 × 53,8cm EDITION

17/30 Collection de la Ville de La Louvière WORK TITLE

La question du pouvoir est la seule réponse TECHNIQUE

Lithography TYPE OF PAPER OR OTHER MATERIAL

Paper YEAR

2009 DIMENSIONS

66 × 48,3cm EDITION

19/40 Collection de la Ville de La Louvière

Katja Angeli

ROYAL COLLEGE OF ART

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My work projects a surreal world of shapes, forms and scenes.

I am interested in the ambiguous image and its potential as a kind of vortex. My work uses the repetition of bodily tropes and the appropriation and conflation of words, images, objects and/or space to explore the image as a groundless portal. Traditional techniques are used alongside digital processes, referencing a narrative about the body in a digital context and the psychological terrain of the everyday.

Colour, pattern, texture and composition are key aspects in my work that is often material led, taking shape through the playful investigation of surface or the juxtaposition of forms and materials. Concerned with the associative process of thinking, collage is at the centre of my practice. Not just as an aesthetic investigation but also as a philosophical enquiry. I am curious about the way you construct an image or a film out of fragments, that you reinterpret and change again and again as a demonstration of how you make sense of the world, rather than an instruction about what the world means.

I work across different media and have recently started using animation as a way to explore shifting states, emphasizing the notions of flux and contingency. There is a strong theatrical dimension to my work and animation lends itself well to this, alluding to the idea of shape-shifting and transformation.

WORK TITLE:

Shifting TECHNIQUE

Print and collage on canvas YEAR:

2015 DIMENSIONS:

101 Ă— 104cm

Christiane Baumgartner

PROFESSOR HOCHSCHULE F Ü R G R A F I K UND BUCHKUNST SEE ↓ HGB LEIPZIG ‘SCREEN’ PORTFOLIO SEE ↓ CENTRE DE LA GRAVURE, L A L O U V I È R E

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The artist brings to woodcut, her favorite medium, an exceptional modernity, first by carving its moulds exclusively by horizontal cuts, and then by working in monumental formats, some of her works approaching four meters in length and three meters in height.

Her attraction to speed and movement - the main topic of her work - comes together with a process based on image capture, from urban videos that she shot herself or from documentary films, often coming from war archives.

These images of highways, airports, wind farms, aerial or terrestrial explosions ... are then retouched on computer by the artist before being transposed onto huge wooden sheets that Christiane Baumgartner will engrave for weeks or even months.

It’s concept of line itself which is so decisive in Christiane Baumgartner’s work, and this already from her first artist’s books (1995).

The combination of horizontal lines, with varying widths, creates images in halftones.

This is a long and almost meditative etching process, which reverses the logic of speed, giving importance to time, reminding us that more speed does not give us more time.

Baumgartner describes our world and its obsession for acceleration, but through this deliberate choice of technique she slows up the way of conveying information to better reveal our hectic lifestyles. Her images require hindsight and distance. The artist invites us to pause, look and think. She invites us to reconsider our vision, not to take anything at face value and to look beyond the image and the erasure of the subject.

WORK TITLE

Illumination TECHNIQUE

Woodcut TYPE OF PAPER OR OTHER MATERIAL

Paper YEAR

2011 DIMENSIONS

1. 36 × 59cm 2. 36 × 40cm 3. 36 × 59cm triptych EDITION

3 / 4 hc Collection de la Ville de La Louvière

Antoinette Belin

Maura Biava

SEE ↓ HGB LEIPZIG ‘SCREEN’ PORTFOLIO

SEE ↓ PRINTROOM

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Rolina E. Blok

CENTRAL SAINT MARTINS

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My practice is driven by exploring the instigated conversations between opposites, using juxtaposition and other various methods. I inquire into the merging of ‘high and low’ in the work; which in majority is derived from my personal experiences and inspired by my surroundings. In printmaking I am experimenting with found objects and transforming their everyday use into a contemporary manifestation. The main subject which I’m exploring is intimacy.

For the piece Could You Just Fuck Off I have used a shower curtain as the object of intimacy, juxtaposed to the industrial nails it is hung with.

WORK TITLE

Could You Just Fuck Off TECHNIQUE

Inkjet print TYPE OF PAPER OR OTHER MATERIAL

Shower curtain, nails YEAR

2015 DIMENSIONS

150 × 200cm EDITION

1 artist proof

Christian Bold

SEE ↓ HGB LEIPZIG ‘SCREEN’ PORTFOLIO

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Located in La Louvière, a forty minute Centre de la Gravure, drive from Brussels, the Centre de la Gravure La Louvière

DIRECTOR CATHERINE DE BRAEKELEER LOANED FROM THE COLLECTION ↓ JEAN-MICHEL ALBEROLA CHRISTIANE BAUMGARTNER J O A N M I R Ó LUC TUYMANS

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et de l’Image imprimée is a multipurpose centre for practice and research dedicated to contemporary printmaking.

The Centre has an amazing collection showing the wealth of modernist and contemporary art from the second half of the twentieth century until today. Thousand prints, 1000 artists’ books and portfolio’s, as well as 2500 posters made by more than one and a half thousand Belgian and international artists with work ranging from traditional prints to new technology processes and to more unconventional methods.

Acquisitions come from the legacy of artists or benefactors (editors, printers, collectors) and this collection is being extend with several hundred works each year. This lively and dynamic museum, established in the rue des Amours in 1988, was renovated and extended in 2011.

A diverse public of amateurs, collectors, students and families can be introduced and initiated into the different forms of printmaking through a special program of activities organised and arranged in close collaboration with artists.

The choice of four artists made for the PR!NT exhibition focuses on printmakers of different generations who have all demonstrated a passion for this creative field and who have altered or pushed its boundaries.

Daniel Clark

ROYAL COLLEGE OF ART

18

I am a visual foley artist — tethering interventions between specific image and sound media to articulate physical sensation. My approach has developed from several formative experiences of listening: sounds emanating from the surface of my grandfather’s stoma bib; the possibility of journeying into the sounding chamber left after laryngectomy; the homestead under duress; acting as a container for atmosphere unseen.

These experiences have profoundly encouraged a multi-sensory practice which investigates areas as diverse as the affect of inaudible sound on proprioception, and the formation of images within potentially explosive clouds of organic dust.

WORK TITLE

Alfred’s veil TECHNIQUE

Caustic burn TYPE OF PAPER OR OTHER MATERIAL

Copper YEAR

2015 DIMENSIONS

40 × 30cm EDITION

1

Catarina Cubelo

CENTRAL SAINT MARTINS

My work attempts to reflect upon material culture, in understanding the self through social structures and mythologies where boundaries are reconfigured, “interior” and “exterior” are reworked. That is, through the enfolding of phenomena, is a dynamic and iterative relation-activity.

In a Kiss, the boundary of inside and outside is ambiguous. This kiss happens every time a user buys an extractor fan from Bosch. According to the companyBoshBrochure , there are two mouths : The “venting mouth “ fans the air while the “return mouth” filters the air.

It seems important to me that we are affected by the air quality that is mediated by this machine. If one think about matter , one should consider that our matter is affected by object.

In our domestic life, we are surrounded by materials with which we constitute and share matter, (space.time), we are constantly engaging in a molecular kiss with the objects of the world.

I. WORK TITLE

Bosch beija Eva (trans. Bosch kisses Eva) TECHNIQUE

Sandblasting TYPE OF PAPER OR OTHER MATERIAL

Glass YEAR

2014 DIMENSIONS

47 × 37cm EDITION

1 II. WORK TITLE

Bosch beija Eva (trans. Bosch kisses Eva) TECHNIQUE

Screenprint and fusing TYPE OF PAPER OR OTHER MATERIAL

Ink on glass YEAR

2014 DIMENSIONS

23 × 17cm EDITION

1

19

Paul Dewis

TECHNICAL STAFF CENTRAL SAINT MARTINS

20

This work is part of an ongoing series of prints and paintings. It is essentially an examination of distance. Re-presenting the far as near.

The original source material for this work was a series of phone photographs I’d taken of herons in a far off tree, the subject initially only very small detail of the image. The photographs were reframed by digitally zooming in and cropping. Zooming, cropping and reframing brings the subject nearer, yet at the same time creates ambiguity through offering up no real new information or extra detail due to the image becoming degraded in the process. I often use low quality cameras, phones and screen grabs to accentuate this quality, often rephotographing photos and monitor images from one camera, phone or screen grab to another.

The loss of clarity and sharpness opens up space for an approach to re-present the image, in this case through systematic layering. The glossy, raised, tactile surface quality of the prints is important in trying to create both a screen and potential barrier to the image.

Luc Tymans has talked about creating distance from the subject as a way of being able to re-approach it. He has described the zoom and zooming in as a point, ‘where you find the notions of distance and approach simultaneously confronting the image’.

Alex Dipple

CENTRAL SAINT MARTINS

21

Jenny Holzer says in her Truism’s that: “Abstraction is a type of decadence” but as an American artist of the 70’s she was following the cult of Abstract Expressionism, its supporters and detractors, it’s claims of purity and its machismo. Abstraction, today, has been taken up by a new generation of artists including Sadie Benning and Math Bass for whom those prior meanings have lost their relevance.

I have been exploring Abstraction as a powerful tool that opens up the possibilities of an image to multiple readings and understandings.

David Getsby says: “Abstraction has capacity. It is productive and proliferative…

It offers a position from which to imagine, recognize, or realize new possibilities.”

Through screen-printing blurred images of newspapers I hope to bypass familiarity and create an alternative view of the news that ghosts the existing one. By adapting the non-narrative potential of abstract art I am taking a position against the newspaper and replacing the seeming clarity of news events with pure colour. The foggy image opposes clear sight, but rather than being a negation of order, the formlessness offers a space of potential in which the centralized voice of the media becomes rheumy, diffuse and open to corruption. Mona Hatoum says: “… to invoke the body without imaging it, offering the abstract form as a receptor to the viewer’s own identifications and empathies.” Here the blur connects my sight to the sight of the viewer and offers a creative point through which a reshaping of the news might be possible.

WORK TITLE

52/21 TECHNIQUE

CMYK Four Colour Screen Print TYPE OF PAPER OR OTHER MATERIAL

Cartridge paper YEAR

2015 DIMENSIONS

50 × 60cm EDITION

10 + 3 Artist Proofs

Julie Kern Donck

ENSAV LA CAMBRE

My work is about the relationships between human technology and nature. How do we shape the world and how we look to it after. With both new digital technologies and traditional etchings, I play with history, nature and technology. I show the world as it can appear on YouTube through a ‚random-dithering filter‘, as a metaphorical suggestion of the blur of our minds.

The first manifestation of this work happen in installation with an interactive projection of dithered short films grabbed on YouTube — these are found and renewed using keywords about the world around us, such as nature, technology, war, architecture, plants, industry, love, hate, animals (cats, dogs, whatever!), music, human, sea, etc.

In the second phase, I etch fragments of these images onto steel plate; as an emblematic gesture of etching and the memorialising of the first image. Thus, this work deploys itself in several complementary paths: technology and nature, digital and analog, subjectivity and objectivity, current events and history...

My goal is to let the viewers travel in their own subjectivity; things are not clear, as we don’t know exactly what is we are seeing, feeling and understanding... but we can try to dive into it and try to understand our own subjectivity and its place in the world-wide world.

WORK TITLE:

A Quiet World TECHNIQUE

Installation DIMENSIONS:

Variable dimensions INSTALLATION MATERIALS:

pilot computer, projection, soundsystem YEAR:

2015 EDITION:

Potentially infinite Dyptych WORK TITLE:

Amazing Demolition of a Skyscraper TECHNIQUE:

Inked etching MATERIAL:

Steel, frame YEAR:

2015 DIMENSIONS

50 × 75 × 3cm EDITION:

Unique WORK TITLE:

Baltimore Riots Raw Footage II TECHNIQUE:

Inked etching MATERIAL:

Steel, frame YEAR:

2015 DIMENSIONS

50 × 75 × 3cm EDITION:

Unique

22

Ingo Duderstedt

SEE ↓ HGB LEIPZIG ‘SCREEN’ PORTFOLIO

23

Paul van der Eerden

SEE ↓ PRINTROOM

24

Pauline Emond

ENSAV LA CAMBRE ROYAL COLLEGE OF ARTS

25

I used to draw as a way to illustrate a certain idea of feelings. I was content with copypasting a limited number of concepts onto everything. Until one day this familiar way of thinking stopped being valid and I couldn’t go on any more. There was nothing to do but look, challenge the narratives inside my head and look.

To me, making artworks means having to deal with problems of communication (even with oneself). I think my work is about the process of trying to understand, I research etymology and how meaning is constructed in dictionaries and spend a lot of time looking at things from my direct environment; I take them apart to try to make something out of them.

WORK TITLE:

Regarde de tous tes yeux TECHNIQUE:

Etching TYPE OF PAPER OR OTHER MATERIAL:

Rice paper DIMENSIONS:

50 × 55cm YEAR:

2013 EDITION:

Artist’s proof (Edition of fifteen otherwise all sold)

Johannes Ernst

SEE ↓ HGB LEIPZIG ‚SCREEN‘ PORTFOLIO

26

Kate Fahey

ROYAL COLLEGE OF ART

27

Working across the boundaries of print and sculpture, my practice explores the fallibility and entropy of mass proliferated, poor quality media images and is a reflection on our relationship with landscape through contemporary screen based perspectives, aerial, satellite and elevated views. I am interested in the material disintegration that manifests itself in pixilation of the digital and surface breakdown of the analogue photograph.

In the profound proliferation of the poor quality, digital image, this degradation also arises from our over exposure to so many images but focus on few. In the fragility of the work I reference both the ephemerality of what Hito Steyerl terms the ‘poor image’ that ‘operates against the fetish value of high resolution’ and the instability of the subject matter.

Focusing on appropriated and archival imagery from the media, and through the material and sublime nature of the work, I reflect on humans’ relationship with digital images and I seek to connect with and to slow down our experience of images of traumatic and unsettling world events.

WORK TITLE

Unmanned Horizons TECHNIQUE

Digital Collage from scanned appropriated imagery TYPE OF PAPER OR OTHER MATERIAL

C-Type Print on Metallic Paper YEAR

2015 DIMENSIONS

69 × 168cm EDITION

AP

Léo François

ENSAV LA CAMBRE

The Multiple / Images Two ways of acting One, that establishes invariants, such as the choice of a technique, a format, a process, a source. Rules defining a stable framework. Protocol and a liberating source of production. To allow freedom of action and experimentation, a search on the image, composition, shape, material, subject, colour.

Persist in this framework and decline within the responses. Visual and formal work, with primacy given to intuition. Being research without seeking something specific can find abroad. Mutate congenital. Close to react to the context, once part understood to be available for the unexpected. Doing is the key. This method has access to a physical relationship or outcome premium. The medium is not the message, it is the image that seeks its rules.

One is procedural, access on the idea, the point. Trying to union between container and content. The path is indicative of the beginning of thought, the medium has a message. All actions raises awareness is, predefined to achieve a result. Is the creative part in shaping the working protocol: actions, gestures are performed repeatedly, to achieve a goal, materialize the vision of the idea. Dreams that dictates the realities.

WORK TITLE:

999 Vols TECHNIQUE:

ink jet and digital cutter TYPE OF PAPER /OR OTHER MATERIAL:

Vinyl DIMENSIONS:

100 × 1000cm YEAR:

2015 EDITION:

Unique WORK TITLE:

10 Mutations TECHNIQUE:

Lithography and transfer TYPE OF PAPER /OR OTHER MATERIAL:

Van Gelder Simili Japon DIMENSIONS:

56 × 76cm YEAR:

2015 EDITION:

Unique

28

Antje Gildemeister

SEE ↓ HGB LEIPZIG ‚SCREEN‘ PORTFOLIO

29

Samuel Gordey

ENSAV LA CAMBRE

30

Les jeunes à casquette, ces dégaines si reconnaissables, pas tellement particulières mais bel et bien uniques. Les mêmes qui font chier le monde, parlent fort dans les bus , fument des joints, désolent leurs mères. Le cadre est donné, l‘étiquette est appliquée. Mon travail concerne cette part de la population. Une jeunesse négligée mais non négligeable, une part entière de la société , un fragment hors cadre, duquel émane néanmoins une histoire, des valeurs, une esthétique, un chemin tracé particulier.

J‘ essaye de prendre du recul sur cette culture qui est la mienne, la faire sortir des carcans établis lui étant propres et nécessaires, afin d‘envisager un passage du particulier au général : cela dépasse le hip-hop, le rap, la cité . Je vise une portée anthropologique, sociale , dénuée de maquillage et de sous entendus castrateurs.

Pour ce faire je m‘essaye à déployer un langage artistique et des techniques de productions extérieures à cet univers en question afin de laisser à l‘ image la possibilité de produire un certain impact. Que vais-je devenir ? Que vont-ils devenir ? Comment tout cela finira-til ? Nos êtres résident au niveau zéro, tournés au ridicule, spoliés et absorbés de tout leur contenus. Nos codes sont diffusés, plagiés, font désormais partie de la vie contemporaine mais demeurent muselés et cloisonnés à une misérable place établie par l‘époque. En dévoilant ces gens, je vise à mélanger ce monde au monde, les mettre en avant bien entendu, mais également leur donner une place de simple individus dans un contexte légitime de présence picturale, où il reste par ailleurs à mes yeux un vide béant à combler. Les préjugés ont la peau dure, nés dans la faiblesse des âmes, leur existence même suscite en moi réflexions et tentatives de réactions pertinentes. Je met mon amour dans mon travail. Ma crainte est que ma production cesse, s‘épuise par la force des choses. Je m‘use à chasser le silence et la lassitude autant que chaque jour j‘essaye d‘apprendre à vivre.

WORK TITLE:

Cézar (triptych) TECHNIQUE:

Etching and Aquatint PAPER:

Rives d’Arches DIMENSIONS:

13 × 20cm each YEAR:

2015 EDITION:

10

Sten Gutglück

SEE ↓ HGB LEIPZIG ‚SCREEN‘ PORTFOLIO

31

Marie Helpin

ENSAV LA CAMBRE

32

What about after? What is really happening after a life-crash-accident? A quiet violence remains, a fair violence.

I print plastic collages. Then I dug up my old printing plates. I moulded plastic plates. I transform the matrix through the etch press. I print them until they break.

By dint of making new print, datadisappear and other appears. The experiment reveals some damage, some fair damage.

Carcass Alfa is the result of this print process. Doubt hangs over this strange character, still floating, still changing. Here it lives without any print. Carcass Alfa is the remains after this accident-process.

WORK TITLE

Une Violence Juste TECHNIQUE

Moulded plastic TYPE OF PAPER OR OTHER MATERIAL

Plastic, paper, ink YEAR

2015 DIMENSIONS

30 Ă— 50 Ă— 160cm EDITION

Unique

Portfolio ‚screen‘ HOCHSCHULE F Ü R G R A F I K UND BUCHKUNST, LEIPZIG

33

The portfolio - ‘screen’ - was created in the summer semester of 2015 at the Academy of Visual Arts Leipzig, in the seminar series »Schnittstelle Druck«, under the guidance and assistance of Christiane Baumgartner, an artist and Visiting Professor of Artistic Practice in the Print workshops.

Seventeen students from a variety of departments within the Academy participated, along with two guests: Professor Oliver Kossack, Printmaking and Ingo Duderstedt, Head of the etching workshop. The prints were completed in the silkscreen, woodcut, etching and lithography workshops, as well as the audiovisual laboratory of the Academy of Visual Arts Leipzig.

Artists

Ellen Akimoto

Christiane Baumgartner

Antoinette Belin

Human figures and Our vision is directed I’m interested in the narrative play a major and steered by our transformation of role in my work. My thoughts. What what I have seen latest series of works we see, we do not (objects, landscape) have additionally necessarily perceive, into a picture. I begun to explore or perhaps we find it exciting that alternative methods perceive it only when working with of representing space. later, distorted wood, every gesture is Standard perspective and colored by our final. You therefore utilizing vanishingfeelings. In this way, have to work with points is transformed, seeing is something its “flaws.” For influenced by the very unique and me, composition parallel perspective individual. In is important, but found in Chinese my work Conifer so are rhythm and scrolls or Japanese I investigate the improvisation. For woodcuts. resolution of an this work I chose a image created vertical structure. through the process It corresponds to TITLE of converting a digital the structure of Interior image into a handwood itself, which TECHNIQUE: printed etching with unites the image and, Woodcut a custom-made raster. foremost, permits for a dissection and recomposition of form.

TITLE: It creates a distance Conifer from the seen, from TECHNIQUE reality. The image Etching resembles a screen.

TITLE:

Zitrone TECHNIQUE

Woodcut

34

Christian Bold

Ingo Duderstedt

Johannes Ernst

Antje Gildemeister

National bias does not come from nowhere; it constantly requires new means of presentation and support. Even the regulars’ table at a bar, the traditional place of resentment, can’t manage today without having a screen in view.

“It is one of the prodigious privileges of art that the horrific, artistically expressed, becomes beauty, and that sorrow, given rhythm and cadence, fills the spirit with a calm joy” Charles Baudelaire

During my walks I look for fictive spaces that, in their very form, distinguish themselves from casual reality.

In 1952 the Barracked People’s Police asked volunteers to build new military objects in the region of Drögeheide – the Low German word for “dry heath” and the name of a small settlement in the Pomeranian countryside. For many people this area is synonymous with secluded military service, often deemed the Land der drei Meere – land of the three seas: the sea of sand, the sea of forest, and the sea of nothingness – and not only by tens of thousands of former East-German military-draftees.

The densely pined area was originally used by the military for combat training and armaments.

This changed at the beginning of the 1980s, particularly because of the area’s location close to the Polish border, when it served as the location for a secret plan against the Solidarity Movement.

TITLE: TITLE:

Mobilmachung TECHNIQUE

Lithograph

35

Kyselak und Ich TECHNIQUE

Photogravure, Etching

TITLE:

Wie die Dinge liegen TECHNIQUE

Pigment Print

For two years, the region was placed under Gefechtsbereitschaft bei Kriegsgefahr– the second highest level of alert for war preparedness. But with the end of the Cold War came the end of the GDR’s 9th Armored Division of the National People’s Army, and the status of the area simply altered over time.

Up until a year ago tanks drove through the area to train for missions abroad, but they are there no more. The aerial view is a blind embossing.

Sten Gutglück

Anna Magdalena Kempe

Jennifer König

The graphic series Calua features an unusual view of the anatomy of skulls.

Bone fragments are freely and unintentionally arranged to yield new bodies. The linocuts are based on preparatory drawings, in which these bodies are further developed.

Due to the dominant central axis, the bodies seem to be symmetrical – but actually are not. In this way an interplay of illusion and ornament emerges.

The screen is at once a place of encounter and separation. It enables communication that remains incomplete, that does not permit real, tactile contact.

The absence of contact creates a void, a feeling of discomfort.

The color-bearing surfaces of the linocut, references to landscapes and their horizontal quality, stand in contrast to more human verticals. This observation plays a crucial role in the artistic shaping of forms in addition to the processes of removal and improvisation.

TITLE: TITLE:

53.603839, 14.087724 TECHNIQUE

Blind Embossing

36

Calua-06-2015 TECHNIQUE

Woodcut

TITLE:

Keine Berührung TECHNIQUE

Woodcut

TITLE:

Geoid TECHNIQUE

Linocut

Oliver Kossack

Derived from a sketch I did – almost without thinking – while working in front of a computer screen, the lithograph Behind the screen examines the physical work and the technical processes hidden behind the virtual.

For me the virtual covers both the images of new media and the immateriality of human imagination.

Jonathan Kraus

Behind the screen shows the link between man and machine by connecting anatomical and more technical-looking elements together in a cycle. One could say that here a second, parallel knee is added to Morgenstern’s knee (“On earth there roams a lonely knee, / It is just a knee, that’s all!”). These joints move like ribbed belts between armature boxes, machine bodies, and data storage or radar transmitter: the production and use of images is set into motion – as is our occasional ignorance of our dependency on these processes.

Klara Meinhardt

All three pairs of lips This work found its originate from already starting point in existing images. medical images of Two come from skin diseases that Hennes & Mauritz afflict overbred (H&M) clothing pedigree dogs. advertisements. The Medical images are third is based on purpose-oriented, a painting by the quickly created Baroque painter and cool in their Jacob Jordaens. presentation. The elaborate process of photogravure and TITLE: its refining stages 2 × H&M, 1 × Jordoens act somewhat as TECHNIQUE a counterprocess.

Lithograph The dog appears as an organic form in the selected detail.

Through the surface modification of the printing technique the photography regains a haptic quality and leads back to the body and the skin.

TITLE:

Dermatitis TITLE:

TECHNIQUE

Behind the screen

Photogravure

TECHNIQUE

Lithograph

37

Olga Monina

Silas Mücke

Since 2014 I have We can clearly been working on the recognize the connection between invisible in our field analog and digital of view, because drawings in my series where we see Digital Drawings. I nothing there is not use a graphic tablet nothing, but rather and scanner to collage something we have marks and gestures already seen. Even and to subsequently where the optic nerve materialize them interrupts our field via silkscreen or of vision with a blind inkjet printing. spot, we still see a continuous image.

TITLE:

Schnüffelstück TECHNIQUE

Graphic tablet collage, Silkscreen

TITLE:

Blackout TECHNIQUE

Pigment Print

Larissa Mühlrath

Malte Pätz

The light allows the simple object to become, on the one hand, a template of the circle’s specific, defined, basic shape and, on the other, a starting point for moving structures of indeterminate width that find their own rhythm within the screen and its surface. Both the circle and the structures permit the viewer to oscillate between microcosm and macrocosm, and to find the one within the other.

In my work, a nondescript form emerges on the surface. I am interested in the moment when this form, through a very nuanced shift in color upon the surface, becomes recognizable as something not immediately apparent at first glance.

The form on the nearly monochrome surface nevertheless remains abstract and indistinct.

TITLE:

Form im Verlauf TITLE:

TECHNIQUE

Sieb

Linocut

TECHNIQUE

Silkscreen

38

Stefanie Pojar

Soenke Thaden

Eva Walker

Light makes the invisible visible. It provides support to the act of seeing, and engagement with what is seen.

The etching could be described as a relief-like landscape with a penchant for the exotic. As the technique of etching permanently offers the possibility for correction or revision, one could describe it as strongly processbased, a description that also fits my manner of working.

The work Principia optices features an overlay of different design plans for the camera obscura.

Since their invention in the seventeenth century, these kinds technological devices have been used to produce images of our environment and ourselves. With the ever better optical equipment made available through advances in technology, it has been increasingly said that reality can be captured and displayed in more realistic detail than one could have ever imagined.

TITLE:

Licht-Raum TECHNIQUE

Lithograph

TITLE:

Paradies 1 TECHNIQUE

Etching

39

But is this actually true? What image of reality is conveyed to us through technological devices? How close to reality is this image?

And to what degree?

Topics such as these become the basis for future development.

TITLE:

Principia optices TECHNIQUE

Etching

Alain Jacquet

SEE ↓ COLLECTION JEAN PIERRE MULLER

If Alain Jacquet is a figurative painter, it is in order to signify the limits of pictorial representation. Playing with the banality of his name, he began by painting canvasses inspired by the colours and forms of a backgammon game (“Game of Backgammon”, 1961). In the series “Camouflage Paintings”, he undertook a re-reading of the history of painting to deny the character of evidence from images, disguised as abstract shapes in bright colors (“Camouflage Boogie Woogie”, 1964). Inventor of Mec’art (“mechanical art” means a mechanically produced art without manual intervention), he submitted certain reproductive technologies such as photography to the test of their own processes: the shift or magnification of the frame leads to the separation of colours that makes it difficult to read the picture (“The Luncheon on the Grass”, 1964).

Subsequently, adapting his experiments on fragmentation of the image to all the phenomena of perception, Jacquet comes to be interested in coding systems of Braille or I-Ching (Kua 64, 1973). “The First Breakfast” (1972) inaugurates a series of images drawn from satellite photographs of the earth: the frame in concentric circles reveals representations relevant to both a libidinal cosmic universe. In his last works (“Duncan Donut”, 1989), Jacquet experimented with painting on computer.

A modernist reinterpretation of the famous portrait of the school of Fontainebleau “Gabrielle d’Estrees and her sister the Duchess of Villars,” the model becomes reduced to a kind of clichéd image of the leisure society, itself hidden under the different treatment of colour, frames and wide horizontal planes.

40

WORK TITLE

Gabrielle d’Estrée TECHNIQUE

Embossed lithograph TYPE OF PAPER OR OTHER MATERIAL

lana Paper YEAR

1964 DIMENSIONS

55 × 65cm EDITION

45/100

Kozuki Kazahaya

KONINLIJKE ACADEMIE VOOR SCHONE KUNSTEN

41

The trails on the beach in Fukushima. I use this image as a metaphor for the disappearing of the human memory. Waves deleted the remains of the Tsunami on the beach. It looks like time deletes the human memory. This work is a part of my current project ”Silent City”. Silent City is about the emptiness I have experienced from 2012 till now in Fukushima, a place that is still in ruins. What I found there was destruction and natural sound devoid of human activity.

At the same time, however, I felt the former presence and the history of the people who lived there. My interest is not ‘pure and complete beauty’, as in unmediated nature untouched by mankind. My aim is to create a work of art that is describing the change in nature, the progress of time and human feeling of being left behind. I try to transfer the feeling of loss and to capture the atmosphere of a “silent city”.

WORK TITLE

Lost in the mist of time, (duration 2min10sec) TECHNIQUE

Inkjet print on Japanese paper, Chine­ colle, Movie projection TYPE OF PAPER OR OTHER MATERIAL

Gampi­paper, Canson 220g, Projector, Media player YEAR

2014 DIMENSIONS

62 × 157cm EDITION

5

Alice Kemp

CENTRAL SAINT MARTINS

42

I work in painting and print-making. I use mostly cheap or found art materials to make my work and follow the lessons of amateur artists to learn ‘how to paint or print’ different things.

I act a bit like a magpie when looking for art materials. I look for shiny and puffy things that stand out and look fun to play with. Sometimes there are interesting inks left out in the print workshop that I use and combine with paints.

The animals and plants that appear in my work are sometimes from my imagination, sometimes appear as a result of a strange mark that has been made with my materials or are copied from Google! At the moment I am particularly interested in decorative/ornamental art. I have been painting boarders, patterns and wallpaper. I am questioning the value of art and have recently found a huge appreciation for low art and kitsch. I am interested in Japanese decorative art because, as E.H Gombrich said, it is ‘curiously and intentionally deformed, crooked, twisted or bulging in the most refined taste…Japan is, the most gifted with the genius of decorative art.’

The piece in the exhibition is a monoprint and so it is the first and only edition. The background has been printed on using a metal plate, covered in etching ink, which has gone through a press. The yellow lithography ink mid-ground has been painted as well as the pink oil painted flowers in the foreground.

WORK TITLE

Pink Flowers in a Yellow Field TECHNIQUE

Etching ink, lithography ink and oil paint on paper TYPE OF PAPER OR OTHER MATERIAL

Somerset soft white (satin) YEAR

2015 DIMENSIONS

30 × 21cm EDITION

1 (monoprint)

Anna Magdalena Kempe

SEE ↓ HGB LEIPZIG ‘SCREEN’ PORTFOLIO

43

Jennifer König

H O C H S C H U L E F Ü R G R A F I K UND BUCHKUNST ENSAV LA CAMBRE ERASMUS EXCHANGE ALSO SEE ↓ HGB LEIPZIG ‘SCREEN’ PORTFOLIO

44

The idea of landscape as a synthesis of nature and humankind is materialized in my work.

This arises out of the dynamic of the work itself and in doing so follows a self-contained visual impression, a specific experience or atmosphere.

In this series of work my attention lies particularly on the horizontal quality and spatial structure of the landscape.

The visual transformation of the material surface recalls a wri- ting or drawing surface, whose artificial organization dissects and characteristically ex- pands the pictorial space. In this sense, geomorphic structures and man-made elements form the picture’s compositional features, characteristic of landscape, whereas the reduc- tion of the color palette to black and white facilitates the perception of the image’s formal aspects.

Seen historically, the notion of landscape has found itself in constant development, pas- sing through continuous alterations. In my work I attempt to describe the abstract concept of landscape in an aesthetic manner.

WORK TITLE

Idea of an image TECHNIQUE

Woodcut TYPE OF PAPER OR OTHER MATERIAL

Pencil, graphite Maza (paper) YEAR

2015 DIMENSIONS

30 × 42cm (59 × 48,6cm) EDITION

1/1 original

Oliver Kossack

SEE ↓ HGB LEIPZIG ‘SCREEN’ PORTFOLIO

45

Jonathan Kraus

SEE ↓ HGB LEIPZIG ‘SCREEN’ PORTFOLIO

46

Julia Lebrao Sendra

ENSAV, LA CAMBRE, BRUSSELS

47

« Flower for beauty Human for humanity Look at the reflection in the mirror Ignore yourself.

I will try not to look pretty I print because I am scared Afraid of life, time, moments passing by I will look but narcisse will be gone, Gone where the beauty hides When the flesh cries out” I am fascinated by mirrors, the silvery polished surface capable of reflecting the immediate truth of the world, of yourself and of time, before it dies away. My work, is about all those slippery images that we cross in our everyday life. The remains of a present. An everlasting palimpsest “The lost things, where do they go ?

How do you know who is in the reflection ?

A copy of a world, Where left is right And right is left How can you say that mirrors are honest braggarts And trust in them with your own beauty ?»

WORK TITLE:

Composition 1 TECHNIQUE:

Screen printing PAPER OR OTHER MATERIAL:

Mirror DIMENSIONS:

70 × 50cm with flexible angle YEAR:

2015 EDITION:

Unique

Ingrid Ledent

KONINKLIJKE ACADEMIE VOOR SCHONE KUNSTEN

48

Process influences the content and the content influences the process. Content = Process = Content = Process = Content = Process. As an artist, I prefer to make no separation between the print arts and the entire field of visual arts.

An artist should challenge the boundaries of any medium. The use of prints in installations or three dimensional works shows the flexibility of print media and how useful they are to all artists. In my own work, I augment the use of traditional printing techniques combining them with computer print, video and audio.

Conceptually, the process of printmaking is quite significant and has become a part of the content of my work. I am mainly fascinated by one of the characteristic attributes of printing techniques, reproducibility. I use reproducibility not to make editions, but as a generating element. During the printing process, the “repetitions” get layered on one another creating new visual forms.

Time, as it is also in a process, is the basic theme in my work. I am strongly influenced by (Henri) Bergson’s idea of time, especially his philosophical thinking about “durée,” the continuous living of a memory which proceeds the past into the present. Emerging out of the manner in which I experience time, I highlight what can not be interpreted as concrete, within measurable time, for the soul is not able to comprehend the experience as a phenomenon within the limits of time. This is a foundation for my images, a non - transparent, archaic tissue of frequently recurring forms.

Also important in the content are processes of manipulation, the phenomena of the matrix and the controlled coincidence or serendipity. Time is also involved in the human body as well as in the actions it undertakes. Therefore, I often use my own skin and body parts to reference and translate time in more visual aspects.

WORK TITLE

Z.T. I TECHNIQUE

Lithography and computerprint TYPE OF PAPER OR OTHER MATERIAL

Zerkall mounted on aluminium, Whengzhou-paper mounted on wooden block YEAR

2004 DIMENSIONS

20 × 70cm EDITION

3 WORK TITLE

Z.T. IV TECHNIQUE

lithography and computerprint TYPE OF PAPER OR OTHER MATERIAL

wooden panel and aluminium YEAR

2004 DIMENSIONS

20 × 70cm EDITION

3

Camille Leherpeur

CENTRAL SAINTMARTINS ENSAV LA CAMBRE

My body of work revolves around power structures, these structures exist in various parts of our societies: political, economical, domestic, religious etc. The work comes from a critical point of view on art history, museum historiography and popular culture. During my studies in printmaking, I started crafting performative items inspired by common shapes seen in European museums such as: crowns, mortuary masks, reliquary caskets, swords, sceptres, scrolls and manuscripts, etc.

My props are then worn and activated during performances where I play a character defined by the objects I sport, especially the masks like the Comedia del’ Arte or the Greek tragic theatre. One persona inparticular is outlined in my practice, it is the foolish king of nowhere, a reckless jester allowed to tell what he thinks is the truth, protected from retaliations by an aura of the fool blended with royal power.

I. WORK TITLE

Saint-Denis TECHNIQUE

Tempera, acrylic paint and ink-jet print TYPE OF PAPER OR OTHER MATERIAL

Photographic paper YEAR

2014-15 DIMENSIONS

90 × 90cm EDITION

Unique II. WORK TITLE

Free Sale TECHNIQUE

The story of these personae is spread around the world by mimicking the communication and marketing strategies used by massmedia, consumerism and cultural institutions.

The paraphernalia can then be diffused like authentic movie, theatre or religious props (Marylin Monroe’s white dress, the Holy Shroud, Justin Bieber’s glasses etc.) metamorphosed into relics by the documentation and its accession to a collection.

Ink-jet print TYPE OF PAPER OR OTHER MATERIAL

Laminated paper YEAR

2015 DIMENSIONS

29,7 × 42cm EDITION

40 and 5 AP III. NAME

Camille Boisaubert and Camille Leherpeur WORK TITLE

Fondation TECHNIQUE

Book binding – lasercut cover TYPE OF PAPER OR OTHER MATERIAL

Oak, paper, leather YEAR

2015 DIMENSIONS

2@ 33 × 27 × 7cm 1@ 33 × 27 × 3cm EDITION 49

Unique

Eva LercheLerchenborg

ROYAL COLLEGE OF ART

50

I consider how image-making techniques affect our understanding of our environment today, and what the abundance of imagery we are subjected to does to us. To question this I look at the surface of the image and the objects conveyed through it. I question how we define a surface, taking this further with my exploration into the layers of creating an image.

I strip the image down to its bare structures of creation by taking it through different image making techniques such as screen printing. I play with the support of the image physically in the space, in order to experience imagery differently in the flesh rather than on the screen. I combine these ways of working in order to create an in-between space for the viewer to be left in, moving backwards and forwards in understanding - in order to question their own positioning in the world.

WORK TITLE

Cracked velvet TECHNIQUE

Four colour screen print TYPE OF PAPER OR OTHER MATERIAL: YEAR

2015 DIMENSIONS

89.5 Ă— 69cm EDITION

6/10

Roy Lichtenstein

SEE JEAN PIERRE MULLER COLLECTION

Lichtenstein’s ‘Water Lilies’ series pay homage to the water lily paintings of Impressionist artist Claude Monet. Lichtenstein first referenced Monet’s work in 1969, with prints based on the French artist’s ‘Cathedral’ and ‘Haystack’ paintings. As well as appropriating Monet’s imagery, Lichtenstein used Monet’s method of working in series, creating multiple works on the same subject.

WORK TITLE

Water Lily TECHNIQUE

Silkscreen TYPE OF PAPER OR OTHER MATERIAL

Lana Royale YEAR

1993 DIMENSIONS

47 × 58cm EDITION

10/20 S Collection de la Ville de La Louvière

51

Nicola Lorini

CENTRAL SAINT MARTINS

52

Before studying art I trained as a designer but I now work across a range of media such as photography, sculpture, drawing and installation with a particular fascination for the relation between space and object. My main interest lies in the potential of images and in their philosophical appearance. I often like to observe their emergence confronting myself with specific contexts and issues such as the dualism natural and synthetic, analog and digital, spiritual and material. I like to conceive the artist as a mediator and the artwork as an object of mediation rather than creation. In these terms, my work is often the result of an act of translation and transformation of found or ex novo material in which the practice of framing and displaying assumes an essential and prolific meaning.

Beside my independent works, I’m now working on Soft Hierarchy, a self publishing project - started during a one week residency in Nablus, West bank - which is meant to investigate the relation between western and middle eastern visual culture. I am also working on The alchemic behaviour of specific thoughts, a series of sculptural objects made of crystallised paraffin wax, created releasing molten material in specific water sources. As a part of a collaborative exchange program between CSM and TUA I am developing a work to be shown shown in Ritsurin Garden, Japan, based on the translation of botanical, mythological, geographical and spatial elements into single, condensed, sculptural objects.

WORK TITLE

Same Day Baby Flowers TECHNIQUE

Graphite on archival inkjet print paper TYPE OF PAPER OR OTHER MATERIAL

Archival matte paper YEAR

2015 DIMENSIONS

36 Ă— 25cm EDITION

Series of 3 unique pieces

Jérémie Magar

CENTRAL SAINT MARTINS

From painting to video, I explore in my practice the possibilities (technical, moral, political) of image-making. As the outer world appears to us mostly through its mediation in images, I am interested in researching the historical and ethical roots of this modus operandi. The reality interest me then, in two moments: its ephemeral otherness (outside me) and when I re-create it through image making and thoughts. Between those two moments lays the artwork.

WORK TITLE

Untitled (monoprint) TECHNIQUE

Screenprinting/ Photocopy transfer TYPE OF PAPER OR OTHER MATERIAL

160gr paper YEAR

2015 DIMENSIONS

70 × 100cm EDITION

Monoprints

53

Frans Masereel

WORK TITLE These inks on paper were made in preparation for the woodcuts that were published in “La Clef Clef des Songes TECHNIQUE des Songes”, Lyon, Les Écrivains Réunis,1950.

Inks on paper TYPE OF PAPER OR OTHER MATERIAL

Paper SEE JEAN PIERRE MULLER COLLECTION

YEAR

1950 DIMENSIONS

20,3 × 12,3cm EDITION

15 inks + 6 woodcuts 1 inks 2 woodcut proofs 3 inks 4 woodcut proofs

54

Anne Sophie Matrella

ENSAV LA CAMBRE

55

After a first year spent in drawing, I chose to work in the Printmaking workshop to experiment with the technology of printed images. I began working in metal in a personal way. I think these intimate spaces, such as daily habits, reflect a discrete poetry. Things such as furniture, plants, postcards or shapes and materials, which are carefully chosen by each of us, create dialogue between themselves and the world.

With my experiments I detached myself from the narrative aspect of my images to focus on the visual and pictorial possibilities offered to me by aquatint and etching. I played with transparencies by superposing the views of one or more parts. Items disappearing / appearing on a wall or in the shade of a plant.

And despite these overlays, I always wanted to keep using this poetry and refinement that pictorial variations offered in the medium.

WORK TITLE

Le vase et la patte TECHNIQUE

Lithography TYPE OF PAPER OR OTHER MATERIAL

BFK Rives YEAR

2015 DIMENSIONS

50 Ă— 65cm EDITION

6

Bob Matthews

TUTOR ROYAL COLLEGE OF ART

56

Bob Matthews’ work has concerned itself in various ways with the ongoing influence and visuality of counterculture groups and draws directly from the residue of failed alternative communities in northern Europe. Often combining new approaches to printmaking with ad hoc uses of craft, his prints and constructions reside somewhere between traditional artworks and functioning props. Through a variety of materials and contrasting processes his work broadly examines the protean relationship between temporality and sustainability. Recent exhibitions and curatorial projects have focused on communal events that led to architectural interventions and examined the effect they had on the depiction and use of landscape. This research has led him to work with utopian communities, private gardens, public spaces and collaborations with other artists.

The work in this exhibition combines a number of processes and approaches to layering both analogue and digital. Hand drawn and cut relief elements have been digitized and applied both to the generation of a machine cut relief frame within the image and collaged within the digital printed layer.

WORK TITLE

‘hand’ (from the portfolio Art School) TECHNIQUE

Screen print on litho TYPE OF PAPER OR OTHER MATERIAL

Paper YEAR

2010 DIMENSIONS

80 × 33cm EDITION

Unique

Klara Meinhardt

SEE HGB LEIPZIG ‚SCREEN‘ PORTFOLIO

57

Juliet Mérie

ENSAV LA CAMBRE

The work is transposed across all devices deployed in the space, the indices of my “Being in the world” and it requires above all a redefinition of what a picture is for me, it is in all things and all forms, it can not be isolated.

The image would be in a state of motion, like roads, they are not static, they come alive when they commit one who has experienced it. We are talking about rhythm, movement, roundtrips between the image and the viewer.

WORK TITLE:

Mirage TECHNIQUE:

Digital print installation – to be interacted with MATERIALS:

Paper, wood DIMENSIONS

472 × 270cm YEAR:

2015 EDITION:

Unique

58

Rob Miles

ROYAL COLLEGE OF ART

59

I make drawings, paintings and prints. My time at the RCA has been spent exploring the possibilities of different print making media, and how best my subjects can be put through these processes. I decided to specialise in lithography as it is the most direct translation from hand to final image, and also the most challenging!

I am interested in the potential of line and tone to create a diagrammatic image on the surface and also to carve out an illusion of depth, keeping this language in a state of tension with itself through a suspension in/on a neutral and spacious plane, and through interruptions and disturbances of pictorial registers.

Within this developing methodology, I am inspired by the history of picture making, in painting and the graphic arts, and its current manifestation in the languages of the computer interface: desktop displays, touchscreen skeuomorphics and the economy of illusion prevalent in contemporary visual communication.

These explorations are furthered through a balance of assiduous observational drawing and whimsical doodling; approaches which strengthen and inform each other through furthering confidence of line, gesture and texture of mark, and the translation of eye through mind to hand.

I am particularly excited about lithography for its peculiarities, which I feel I can use to the advantage of my imagery, and for its demands, which forces me to really consider the structure and composition of the drawing in a very haptic fashion.

WORK TITLE

Even we, sometimes, make mistakes (I) TECHNIQUE

Stone lithograph TYPE OF PAPER OR OTHER MATERIAL

Somerset radiant white YEAR

2015 DIMENSIONS

65 Ă— 45cm EDITIONS

4/7

Annabelle Milon

ENSAV LA CAMBRE

I work with printmaking which means I am dealing with representation in general. I work with this medium and its processes in order to find links with the questions of representation, in a more conceptual way. In this area of research I am engaged with significant issues such as : Identity, Language and Power. ‘Time’ also has a special role because on one hand the process is slow and on the other it is related to the thematics being worked on. Sometimes my work is personal, almost intimate and then sometimes it becomes more general and global.

WORK TITLE:

Persona TECHNIQUE:

Photo-etchning PAPER:

BFK Rives YEAR:

2015 DIMENSIONS

30 × 30cm EDITION:

10 WORK TITLE:

Then think.

TECHNIQUE:

Oxydisation MATERIAL:

Copper YEAR:

2015 DIMENSIONS

100 × 100cm EDITION:

Unique

60

Joan Miró

SEE ↓ CENTRE DE LA GRAVURE, L A L O U V I È R E

61

Painter, sculptor, engraver and ceramist, he is one of the major players in Modern Art. The artist was regularly visiting Paris from 1919 where he discovered the Dada movement and met Picasso, André Masson and Jean Arp. Under the influence of surrealist writers in 1924 he developed a visual language of a fresh poetic exuberance. After his participation in the International Surrealist Exhibition held at Gallery Maeght in 1947, this gallery will exhibit his works each year and will become his appointed editor.

Lithography occupied a very important place in his work. He had discovered this technique in the 1930s, to illustrate Tristan Tzara’s L’Arbre des voyageurs. Color lithography was shown to him by Mourlot in 1947.

His collaboration with the Parisian printer was encouraged by the gallery owner Aimé Maeght and became the starting point of a considerable production of more than eight hundred plates. At the same time, he pursued research in copperplate engraving in the studio of Stanley Hayter in New York.

Printmaking, in all its different forms allowed him to continue to experiment while reaching a wider audience.

«The etching is for me a major means of expression... It was a means of liberation, enlargement, discovery. Although at first I was a prisoner of its constraints, its processes and tools, too dependent on traditional methods. I had to resist them, break them, and then a huge field of possibilities was offered to the eye and hand.» (Joan Miró, Miró graveur, Jacques Dupin, 1984.)

WORK TITLE

Miró Exhibition TECHNIQUE

Lithography TYPE OF PAPER OR OTHER MATERIAL

Paper YEAR

1971 DIMENSIONS

56,5 × 76,7cm EDITION

6/75

Olga Monina

Silas Mücke

Larissa Mühlrath

SEE ↓ HGB LEIPZIG ‘SCREEN’ PORTFOLIO

SEE ↓ HGB LEIPZIG ‘SCREEN’ PORTFOLIO

SEE ↓ HGB LEIPZIG ‘SCREEN’ PORTFOLIO

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Jean Pierre Muller and Nile Rodgers

PROFESSOR ENSAV LA CAMBRE

63

Seven by Seven (7x7) is an inter-disciplinary collaboration between neo-pop artist Muller and seven musical luminaries from a variety of contemporary genres; Nile Rodgers, Robert Wyatt, Mulatu Astatke, Archie Shepp, Sean O’Hagan, Kassin and Terry Riley. They were inspired to explore our most spiritual integer, seven, and create a holistic system through which our world is reimagined and rearranged in an explosion of imagery, sound and colour.

7x7 is seven interactive sound sculptures, each produced in an edition of seven, in the form of letters corresponding to the musical scale A-G. The principle at the core of 7x7 is very simple: to connect the first note of the scale with the first colour of the rainbow; with the first chakra; with the first day of the week and so on. This basic ‘grammar’ leads to myriad associations and links, silk-screen-printed in dense and eclectic imagery across each sculpture, and the creation of seven extraordinary musical compositions.

The work presented here explores the 6th level of 7x7 : F - Indigo - Saturday - Saturn - Anja. It is a vibrant tribute to the spirit of the Harlem Renaissance, the fight for dignity through the creation of beauty. This was the perfect inspiration for Jean Pierre and Nile Rodgers, one of the most influential musicians and producers of the last 40 years, from “Le Freak (C’est Chic!)” to “Get Lucky”. It also led to a critically-acclaimed stage show performed by the Nile and Jean Pierre at the Edinburgh Festival in 2013.

TITLE:

7x7-F-Indigo TECHNIQUE:

Silk-screen printing MATERIALS:

Wood, acrylic on PVC, sensors, electronics, Behringer speakers DIMENSIONS

110 × 129 × 20cm YEAR:

2012 EDITION:

7

Scarlett Mueller

ROYAL COLLEGE OF ART

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All my works can largely be described as collages, or assemblage, whether traditional collages on paper, woodcuts or handmade books. The principles associated with collage - like fragmentation, heterogeneity and complexity- are all very important to me.

In my practice I love coincidences and chaos – however, it is obsession and the addiction to complex and twisted ordering systems that rule my creative performance. It is a way to cope with the need to understand the world and to question relations between madness and myths, chaos and order, illusion and reality – and the perception of the world.

With the multi-coloured woodcut series ‘Der Raum träumt’ (Dreaming Space) I wanted to create images that reveal and conceal in equal measures so it comes to describe an inside space, to articulating an analogy between interiority and the self.

Geometrical forms layer themselves up and create new space, architectural constructions encounter deliberate gesture. Together they intend to build a new order and balance.

Through the processes visible in the images, it is not the world that is revealed by these organising instruments; it is the curtain they raise between the world and our-selves.

In a digitally orientated world, these works also celebrate a belief in manual work and a confidence in the analogue. The woodcuts aren’t fast, they are slow and exacting, built one layer at a time, one element at a time, the result careful deliberation.

WORK TITLE

Der Raum träumt TECHNIQUE

Handprinted woodcut PAPER:

Japanese Shiohara DIMENSIONS:

66 × 69cm YEAR:

2015 EDITION:

Unique

Viktoria Nickel

KONINKLIJKE ACADEMIE VOOR SCHONE KUNSTEN

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The Hand, a pattern of individuality, is creating this tension between the subtle and the persuasive. With its layers it opens the depths of consistency and frequency, where Transparency captures the fading fields!

As I go, I slowly unwrap and discover meanings, zoom in and discover how this flowing surfaces melt together. I use thin layers to create depth and the feeling of the transient moments, where the palm of the hand paints the image of a distant landscape and the composition of each fragment shifts the perspective to a transition from subconscious to conscious.

The texture of the paper functions as the natural element which melts together with the metallic copper and reminds of a vaguely skin tone. To see the unseen- the white space becomes the sustaining fundament of simplicitythe expression of purity and clearness.

Those moments, to stand still and breath. see the unseen

feel the invisible

hear the quite silence

WORK TITLE

Touch. Hold. Skin.

TYPE OF PAPER OR OTHER MATERIAL

Mixed Media, Silkscreen Print, Digital Print, Lithography Zerkal Paper 250g, Chincolee paper, Copper, Transparent paper YEAR

2015 DIMENSIONS

26 Ă— 34cm EDITION

3

Malte Pätz

SEE ↓ HGB LEIPZIG ‘SCREEN’ PORTFOLIO

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Frédéric Penelle & Yannick Jacquet

ENSAV LA CAMBRE

67

While the passage of time seems to accelerate every day, we offer a pause, a suspension, a breath. A strange mechanism stretches across the wall, populated with shadowy chimeras. They are mysterious and yet somehow familiar. Is this a laboratory experiment or the plan for a future network?

Minutely constructed like a fine clock, it traces connections, routes, genuinely-false, looping itineraries, inviting escape, inviting dreams. The narrative is deconstructed like a thousand-storied film script. Every effort is made to lead astray, to turn around, to forge ahead. Time is shredded, decomposed, lost and yet everything references it.

Mécaniques Discursives is like a parenthesis between two epochs: Gutenberg’s and Big Data’s. By contrasting the oldest form of image reproduction (woodcutting) with the most recent digital technologies, the installation straddles centuries and contracts time.

WORK TITLE:

Mécaniques Discursives - framed version #4 TECHNIQUE

Video projection, woodcuts, collages MATERIALS:

prints on wood panel integrating steel objects and video projection.

YEAR:

2014 DIMENSIONS

160 × 90cm EDITION:

Unique

Stefanie Pojar

SEE ↓ HGB LEIPZIG ‘SCREEN’ PORTFOLIO

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Harley Price

CENTRAL SAINT MARTINS

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“Wealth without work, pleasure without conscience, knowledge without character, commerce without morality, science without humanity, religion without sacrifice and politics without principle.”

Mahatma Gandi’s list of the destructive Seven Blunders of the World that cause violence.

I draw from my own experiences of abuse, both sexual and physical; I draw from my childhood, revisited. Manipulating the material possibilities of a broad interdisciplinary practice: drawing, painting, printmaking, sculpture, photography, multimedia, performance and installation, my work obliquely addresses the phenomenology of “lnjustice”.

To inform my practice my research focuses on the consequences of forced control inflicted and suffered by the general, omnipresent “other”, investigating the contradictory interrelation between sanctuary and shelter, eradication and dereliction, mechanisms creating injustice, socio--political and cultural oppression and the controls systems of propaganda, deception and censorship.

My work considers and questions my own role within these dual systems: agent provocateur and saboteur or/and accomplice and participant?

I have always felt as though I did not fit in and have identified with the iconographies, either factual or fictional, of the rebel and the renegade, the iconoclast. Finding, loss, sacrifice and devastation far more compelling than success, I prefer the loser over the winner.

I. WORK TITLE

Guillotine TECHNIQUE

Digital Print TYPE OF PAPER OR OTHER MATERIAL

Paper YEAR

2015 DIMENSIONS

75 × 56cm EDITION

1/5 II. WORK TITLE

Agent Orange TECHNIQUE

Silk Screen TYPE OF PAPER OR OTHER MATERIAL

Paper YEAR

2015 DIMENSIONS

70 × 100cm EDITION

1/20

Karin de Jong

ARTISTIC DIRECTOR

Ewoud van Rijn

WORKSHOP COORDINATOR & TUTOR, ROYAL ACADEMY OF ART, THE HAGUE PRINTROOM, ROTTERDAM

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PrintRoom is a presentation space and shop dedicated to artists’ publications based in Rotterdam. Since 2012 PrintRoom runs a risography stencil workspace where artists, designers and others can take part in workshops or print their own projects.

PrintRoom started in 2003 as a travelling and growing collection of artists’ publications. In 2010 the initiative acquired a fixed address in Rotterdam where it has become a vibrant hub for promoting and selling publications by artists, designers and small publishers from all over the globe. The PrintRoom collection comprises various material: from lusciously designed, full colour publications to small flipbooks, and photocopied zines.

The space hosts talks, presentations, book launches, and workshops that explore artistic strategies in independent publishing.

PrintRoom’s presentation at PR!NT focuses on production, with a selection of PrintRoom’s risographed publications: PrintRoom publications as artists’ editions, with Maura Biava, Paul van der Eerden and Helmut Smits, flipbooks produced in the frame of the International Film Festival Rotterdam, with Zoe Beloff, Maaike Gouwenberg and Joris Lindhout, Martha Colburn a.o. or artists’ books in consignment.

Risograph printing, also called mimeography or stencilling, is a relatively fast, cheap and environmentally friendly way of printing.

For these reasons it has recently gained popularity with artists and designers. It resembles silkscreen printing as it similarly works with separate colour runs. The prints have a rich haptic quality.

Karin de Jong and Ewoud van Rijn run PrintRoom together with a small group of volunteers.

Presented in PR!NT

A selection of PrintRoom flip books

The Nudiste Association,

by Zoe Beloff risography, 2015 Eine Landschaft der wilden, nackten, grimmigen MenschenfresserLeute by Maaike Gouwenberg and Joris Lindhout, 2014 One page flip by Quinten Swagerman (riso printed), 2013 Spin by Martha Colburn (riso printed), 2013

A selection of other PrintRoom publications

Lubok 11 is one of a series of books printed from original linocuts, reproduced on a → mechanical letterpress.

The craftsmanship CC, a booklet based on the correspondence of the linocut is between artist Thomas preserved in the end product. Lubok 11 Jenkins and curator is co-produced by Niekolaas Johannes Lubok Verlag, Leipzig Lekkerkerk around and PrintRoom. the work ‘The Seas Participating artists: and Oceans of the Damien Deroubaix, World’ presented at Sebastian Gögel, PrintRoom as part of Irene Hanenbergh, ‘Two in the Wave’ an Thomas Moecker, exhibition with work Olivia Plender, Marcel

by Batia Suter and Thomas Jenkins, 2013. Ruijters, Jasper Sebastian Stürup, Koen Taselaar, Parazine: The Format Marcel van Eeden, – Poster, Broadsheet, Ewoud van Rijn, Zine — Artwork by James Whitman and Ruth van Beek, Sigrid Christoph Ruckhäberle Calon and Erik van der (cover image).

Weijde, three Dutch artists who are active The Archaic Revival in the international Review is a collection publishing scene. of over 20 A3 sized Riso printed, May posters by California 2014. Parazine is PrintRoom’s occasional based artists, compiled and produced by publication focusing artists Dani Tul and on the different Ewoud van Rijn. aspects of publishing.

The works are stencil It is called ‘Parazine’ printed at PrintRoom’s as it is distributed Risograph workshop as an insert in art in blue and red and related publications (magazines, catalogues) kept together with an elastic band. 2013 at local book stores, kiosks and museum shops.

CollectivePlant, ‘Wildfood Calendar’ Collective Green book, ‘Fanzin #1’ and ‘Fanzin #2’

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Graphic #33 ‘Bookshops’, published by Propaganda Özlem Altin, ‘Notes on notes’, published

by Orient press, Berlin and Witte de With, Rotterdam, 2015 Bik Van Der Pol, ‘What if the moon were just a jump away’, published by Labin Imprint, Jan Van Eyck Academie, 2015 Steven Jacobs & Lisa Colpaert, ‘The Dark Galleries’, published

by AraMER Paper Kunsthalle, 2013 Koen Taselaar, ‘Words on paper’, self published, 2014 A selection of artists’ editions Helmut Smits: riso printed posters based on drawings published in ‘Ideas and Thoughts’, artist book published by Onomatopee.

This presentation is combined with Nadine Stijns, ‘ Floating Population’ published

by Fw:Books

Alizée Quitman

ENSAV LA CAMBRE

72

The diffusion of screens and computers in every playground started when I was still in primary school. Video games were the only reason I found computers really exciting at the time. They began in serious competition with animations and games such as DragonballZ. I used to play a lot on the The Sims, a dream, a perfect virtual bubble, a space to lock myself in after school. Especially for an adolescent girl willing to live a young adult’s life.

The computer appears at this time, as an effective entity; and excessively fast, without committing any error, inhuman. Eventually unwilling altercations happen. How can there not be any? Man wants a machine that looks like him, an artificial intelligence but it won’t do anything the same way.

It is from this contradiction/correlation Man/Machine that bugs arise.

“From intuition and stupidity”.

And here is the information printed from a failure.

What it offers us to see and that moves me today, are those pixels interweaving, tones changing, the repeating and the numeric complexity, which are a manifestation of the huge serial of codes hiding behind any numerical media providing a ‘material’ that is unknown to the ‘sensible world’. As this woman in heels who walks with confidence and who, facing an unexpected obstacle, falls. Her bag empties itself. Most of her stuff ends up on the ground.

All that information, that makes her identity, maybe her intimacy, barely naked, the randomly spreading of an ensemble of data usually not visible. It is about capturing this identity in one screenshot and laying it down on paper, keeping it, to manipulate it and reproduce it.

WORK TITLE:

InterfAss TECHNIQUE:

installation: MATERIALS:

Video, engraving, screen print, and digital print. Plexiglas, glass, projections, tarp, sticker glitter paper, Steinbach white and coloured paper, Somerset white paper, gold and silver paper, glossy paper, aluminium, video on flat screen with joystick.

DIMENSIONS:

Variable YEAR:

2014-2015 EDITION:

n/a

Rafael Rodriguez

KONINKLIJKE ACADEMIE VOOR SCHONE KUNSTEN

This work belongs to a series of Lithographs that explores the evolution of the human figure through several stages. My intention is to represent the human figure from an iconic point of view composed by live drawing, memory and imagination. They are the result of a process of destroying and creating through drawing and printing that aims to register the different variations and moments oft he evolution of the work.

WORK TITLE

Figure XI TECHNIQUE

Stone Lithograph TYPE OF PAPER OR OTHER MATERIAL

Zerkall 270gr YEAR

2015 DIMENSIONS

140 Ă— 99cm EDITION

3

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Robert Rauschenberg

SEE JEAN PIERRE MULLER COLLECTION

74

The act of incorporating the physical material of everyday life into artwork was a central part of Robert Rauschenberg’s early practice. In 1970 he took it a step further by using clipped newspaper headlines as content for a series of legendary silkscreens.

While Rauschenberg was certainly not the first artist to do so (early Cubist paintings included newspaper clippings for example) his series is significant as it inspires a dialogue on the meaning of journalism, the ephemeral nature of news(papers) in striking contrast to the aspired permanence of “Fine Art”.

Over the last several years “Currents” has become one of the most sought-after and exhibited works from Robert Rauschenberg’s career. In 2011, Peter Freeman exhibited the entire series at Art Basel (Switzerland) and the following year LACMA acquired the entire set.

WORK TITLE

Currents TECHNIQUE

Hand-Printed Silkscreen TYPE OF PAPER OR OTHER MATERIAL

Aqua B 844 Paper YEAR

1970 DIMENSIONS

102 × 102cm EDITION

3/50

Ewoud van Rijn

SEE PRINTROOM, ROTTERDAM

75

Hugo Ruyant

ENSAV LA CAMBRE

76

I am developing works across editions, comic strip pages, posters and printed pictures.

I am convinced that the form of the comic, its rhythms, ellipses, sequencing, organisation and extension to books produces significant contexts that I want to develop. When I talk about comics, I don’t mean the connotation with illustration but more with poetic characteristics, concerns in reading, the need for minimalism and clarity of drawing to articulate the tensions of sequence and development. And tying it all together, the primacy of form over content and of presentation over representation.

My work directly engages with ideas. Or rather – the most important thing - it produces the sense of desire for ideas. I aim to use my own language (the one I make) and yet I also speak the language of others; I want to create a sense of pleasing but without indulgence.

It is with this energy that I am developing a mixed-media approach, working with drawing, illustration, painting and design that all extend the scope of this hybridity. It is through the silkscreen process that I can best develop these ambiguities. The printing process becomes an alchemy of images, registers and different languages that I covet.

WORK TITLE:

Workers TECHNIQUE:

Screen print PAPER:

Steinbach YEAR:

2015 DIMENSIONS

73 × 115cm EDITION:

10 WORK TITLE:

Flags TECHNIQUE:

Monotype PAPER:

Steinbach YEAR:

2015 DIMENSIONS

60 × 80cm

Jo Stockham

WORK TITLE

Moving landscape TECHNIQUE

Digital print TYPE OF PAPER OR OTHER MATERIAL

PROFESSOR ROYAL COLLEGE OF ART

Banner paper, wooden support YEAR

2013 DIMENSIONS

80 × 33cm EDITION

5

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James Tailor

CENTRAL SAINT MARTINS

My work stems from the tradition of painting and how I can explore the boundaries of this by working with different techniques or mediums, in almost everything I create I believe this link to be present. In my more recent work I have started to question my role as the artist and where the line between artist and artwork is drawn. I have explored this by presenting a version of myself, normally with a painted face, alongside my artworks, I become part of them, the artist and artwork could be seen as a portrait or echo of each other. You could say that this is exploring the idea of the artist as someone who only exists within the context of their own art or art versus artist and how the relationship between the two translates to the audience.

It is only natural that I now am exploring this idea through printmaking. Using printmaking I have created a silkscreen ‘James Tailor after Magritte’ an extension of a previous work in performance then documented in photography.

This latest version of the work should translate as a further echo when I accompany a different version of myself at the private view, creating a direct dialogue with the work while I am present. Working with printmaking has made this possible for me to have a physical object which enables this conversation to happen.

I. WORK TITLE

‘James Tailor after Magritte’ TECHNIQUE

Silkscreen (from original photograph by William Baker) TYPE OF PAPER OR OTHER MATERIAL

Acrylic Silkscreen on Fabriano 5 300gr YEAR

2015 DIMENSIONS

70 × 100cm EDITION

3 Artist Proof II. WORK TITLE

‘James Tailor after Magritte’ (Editions 1­8) TECHNIQUE

Silkscreen (from original photograph by William Baker) TYPE OF PAPER OR OTHER MATERIAL

Acrylic Silkscreen on Fabriano 5 300gr YEAR

2015 DIMENSIONS

70 × 182cm EDITION

unique

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Soenke Thaden

SEE ↓ HGB LEIPZIG ‘SCREEN’ PORTFOLIO

79

Luc Tuymans

SEE ↓ CENTRE DE LA GRAVURE, L A L O U V I È R E

80

Luc Tuymans’s contribution to the revival of painting in the 1990s has been widely recognized : he’s an influential contemporary artist. At the same time, works on paper have become an intrinsic part of his work, where he can experiment on techniques and mediums.

Through a reduced range of colors and by revisiting existing images, Luc Tuymans covers topics such as history, World War II, the ghosts of Belgian Congo, child abuse, religious authority or the power of world companies.

Each work raises the question of the nature of images and of our way of including them in contemporary society. By taking these images out of their context, the artist gives us the opportunity to look at them in a different way.

His preparatory work usually starts with the creation of source images - out of photographs, press clippings or movies. This is the case in the series titled ‘Allo!’, which first took the shape of six paintings in 2011, before Luc Tuymans revisited the work a year later, with master printer Roger Vandaele, in a silkscreened edition of three prints in nine colors.

The silkscreened suite ‘Allo!’ is based on a painting, the painting is based onthe photo of a screen broadcasting a feature film (The Moon and the sixpence, Albert Lewin, 1942), the film itself is based on a book (The Bewitched, William Somerset Maugham, 1919) evoking Gauguin’s life. This interaction between the source image and artistic creation is an integral part of Tuymans’ work, something between illusion and reality.

WORK TITLE

Allo !

TECHNIQUE

Silkscreen, series of 3 TYPE OF PAPER OR OTHER MATERIAL

Paper YEAR

2012 DIMENSIONS

3@ 56,2 × 69,9cm EDITION

34/50 Collection de la Ville de La Louvière

Eva Walker

SEE ↓ HGB LEIPZIG ‘SCREEN’ PORTFOLIO

81

Installation shots

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Printmaking Union

The Printmaking Union is an international research initiative that creates knowledge and dialogue. It is established at the European Higher Education level. The approach to teaching can be experienced in relation to the pedagogy of the art schools. Research interests are both broadly and specifically defined through the diversity of staff and student interest. Primarily it is individual practice that determines the nature of engagement in the field of printmaking.

The Printmaking Union will continue to develop exchanges of students and mentors, workshops and courses, a shared web platform, conferences, publications, exhibitions and events. It will focus on the triple problematics of design, production and distribution. The culmination of this phase of work will be presented in a major exhibition at Centre de la Gravure et de l’Image imprimée, La Louvière, 2018, then formed as a travelling exhibition.

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Members Printmaking La Cambre Brussels MA Fine Arts Central Saint Martins London MA Printmaking Royal College Of Art London Printmaking Royal Academy Of Fine Arts Antwerp Printmaking Hochschule fuer Grafik und Buchkunst Leipzig R&D Royal Academy of Art The Hague Partners Centre de la Gravure et de l’Image imprimée La Louvière PrintRoom Rotterdam

Colophon

The first edition of this publication is a work in progress.

It has been prepared by Alain Ayers content coordination and translations Jean Pierre Muller translations Pierre Huyghebaert Julie Kern Donck Juliet Merie layout Pictures by Jean Pierre Muller Juliet Merie Harley Price Camille Leherpeur

The PR!NT show

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ENSAV La Cambre Brussels

Caroline Mierop Barbara Cuglietta Jean Pierre Muller (curator) Alain Ayers (project coordinator) Lola Meotti Frédéric Penelle Marianne Corté Francis Capes Pierre Huyghebaert Anne De Jaeger Claudy Pirard

Central Saint Martins (CSM) London

Madeleine King Louisa Minkin Paul Dewis

Royal College of Art (RCA) London

Jo Stockham Bob Matthews

Koninklijke Academie voor Schone Kunsten (RAFA), Antwerp

Ingrid Ledent

Hochschule für Grafik und Buchkunst (HGB), Leipzig

Christiane Baumgartner Oliver Cossack

Koninklijke Academie voor Beeldende Kunsten (KABK) The Hague

Aparajita Dutta Ewoud van Rijn Martijn Verhoeven

PrintRoom Rotterdam

Ewoud van Rijn Karin de Jong

Centre de la Gravure et de l’Image imprimée La Louvière

Catherine De Braekeleer Véronique Blondel

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Print

makes

kings