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print internationale grafik triennale krakau – oldenburg – wien 2007 05. 09. –- 12. 10. 2007 |
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/ Film / Lesung 20. - 23. 09. 2007 Symposium Erkundungsfeld Druckgrafik 21. – 23. 09. 2007 Mit Richard Noyce, Chiara Giorgetti, Jan Pamula, Brita Prinz, Seiichiro Miida, Augustus Mazzocca Die druckgrafischen Techniken mit ihrer Geschichte und Tradition, mit ihrer wesentlichen Bedeutung für die kulturelle, intellektuelle und politische Entwicklung Europas rücken heute neu ins Zentrum des Interesses als „Erkundungsfeld für Fragen nach den technischen Bedingungen des Bildes allgemein“ (Ernst Rebel). Die Grafik wurde in den letzten Jahren immer mehr zum Treffpunkt vielfältiger medialer Strömungen von Fotografie, Grafik-Design, digitalen und anderen neuen Druckverfahren, die in einer rapiden Konfrontation und Wandlung eine Sprache der Grafik des neuen Jahrhunderts, neue Funktionen und Kommunikationsformen schaffen. Viele KünstlerInnen thematisieren in ihren Arbeiten das Spannungsfeld der traditionellen mit den digitalen Mediensystemen im Bereich der Druckgrafik. Alte und neue Bildwelten werden miteinander verschränkt, ein vielfältiger, offener Diskurs im zeitgenössischen Printbereich prägt die aktuelle Situation der Grafik. Das Symposium begleitend zur Ausstellung PRINT – Internationale Grafiktriennale Krakau – Oldenburg – Wien 2007 im Künstlerhaus will einen Beitrag zu diesem Diskurs leisten. Internationale Referenten sind eingeladen, in Vorträgen und Gesprächen die kunst und medienhistorische Entwicklung, aktuelle Tendenzen und Entwicklungen darzustellen und zu diskutieren. Das Symposium wird in englischer Sprache abgehalten. Symposium Printing arts as a field of investigation 21. – 23. 09. 2007 With Richard Noyce, Chiara Giorgetti, Jan Pamula, Brita Prinz, Seiichiro Miida, Augustus Mazzocca With all their history and tradition, contemporary artistic printing techniques are again verging back towards the focus of public attention. In their essential functions for cultural, intellectual and political development, printing techniques have developed into a field of investigation for the enquiry into the technical conditions inherent to images. As a result, in recent years, printing techniques became increasingly a crossroads for heterogeneous currents in photography, graphic design, digital and other new technologies for the reproduction of images. By dint of their rapid confrontations and developments, these new media contribute to the creation of a new language in graphic arts for the new century: they thus allow for hitherto unknown forms and functions of communication. In their work, many printmakers address the (often conflicting) relationships between traditional and digital media systems. In such ways, classical-modern and novel iconic programmes become dovetailed, paving the way for a pluralistic, open discourse in contemporary printing arts. A symposium accompanies the international exhibition PRINT – Internationale Grafiktriennale Krakau – Oldenburg – Wien 2007. By inviting an impressive roster of international speakers, the symposium seeks to contribute to our better understanding of these discourses. The talks and conferences will shed light on the development of printing in art and in media history, as well as present critical assessments of new currents in the field. The symposium will be held in English. 21. 09. 2007, 16.00 Uhr Begrüßung / Welcome speech: Prof. Joachim Lothar Gartner, Präsident des Künstlerhauses Eröffnung / Inauguration: Botschafter Dr. Emil Brix, Leiter der kulturpolitischen Sektion im BM für europäische und internationale Angelegenheiten Richard Noyce The moving Edge Much of my work in the past few years has been based on the notion of “The Edge”, culminating in my most recent book, “Printmaking at the Edge”. It is evident that “The Edge” is never a fixed point; instead it is a notion to which all manner of things may be attached. In the case of the international printmaking community it is a very stimulating place, at the very centre of the laboratory of ideas and techniques that is the essence of printmaking. The moving Edge will address some of the things (in the sense that Rilke used the term – “the thousand things that poets came into the world to name”) that I have encountered in recent months, and will attempt to place printmaking within the wider context of contemporary art. For far too long the mandarins of the fine art world have relegated printmaking to theback room, treating it as being little more than a rather refined craft. The work being done by contemporary artists who use print is demonstrating that this can no longer be justified – the edge is moving towards the centre. Richard Noyce has in the past twenty years been primarily a writer on the visual arts for magazines in Britain and Europe, although he has also produced and exhibited drawings, photographs, paintings, and most recently, digital prints. Having worked for many years in gallery and arts administration, he has gained a broad experience of many aspects of the international arts world. Books: “Contemporary Graphic Art in Poland”, 1997; “Printmaking at the Edge”, A&C Black, London 2006. He was President of the Awards Jury for the Krakow International Print Triennial 2003 and 2006. 18.00 Uhr Chiara Giorgetti Printmaking without Limits Italy’s contemporary printmaking scene suffers a duality, perhaps due to historical heritage or a reluctance to change. On one hand, rigorously traditional, technically based printmakers follow iron rules and regulations; on the other hand, there are artists who enjoy printmaking without limits and looking at hybrid methodologies to reach the appropriate aim for their artistic works. This dualistic context can be seen particularly at national grants, although such events focus their interest on more traditional methods. But what really happens in studios and laboratories? Apart from grants and awards, the contemporary printmaking panorama is quite different: a vivid conscious research of techniques and materials related to a specific linguistic choice is widespread among artists. Toner transfer, digital elaborations, hybrid tendencies, polymer photogravure, but also all the traditional historic techniques like burin, dry point or mezzotint – have these approaches been driven away by the digital revolution? Computers and digital devices everywhere are allowing us to catch our daily history. But, despite their function, digital instruments allow us to reflect seriously about the choice of materials and machineries. In the homeland of Pollaiolo and Mantegna, choosing a medium is a complicated affair. Chiara Giorgetti born in 1963. Chiara Giorgetti is Professor of Prints Processes at the Academy of Fine Arts of Brera, Milan. She received her B.F.A. In Painting at Florence’s Academy of Fine Arts, and her M.F.A. in Printmaking from the International School of Graphic Art II Bisonte, Florence. In 2001, she founded Printshow.it, a webzine devoted to printmaking – an open source to connect the Italian printmaking scene with the practise of contemporary art. She has exhibited internationally and works with a range of media. 22. 09. 2007, 16.00 Uhr Jan Pamula Artistic Ideas in Krakow: Printmaking of the Second Half of the 20th Century The period after World War II to the end of the 20th century saw artistic life flourish in various centres across Poland, mainly Warsaw, Krakow, Lód´z, Poznan and Wroclaw. Krakow is considered to be the leading and the most influential centre of printmaking. It owes its international renown as a key centre of contemporary printmaking in part to the local International Prints Biennial (now Triennial), and in part to the locally based printmakers, who have worked out their individual original artistic ideas. The term “Krakow graphic arts” may be interpreted in many different ways. First, it may denote prints created by artists who live and work in the city. Secondly, it may refer to some distinctive features and values of such prints. Thirdly, what we dub “Krakow graphic arts” may describe the development of a local printmaking tradition. The artistic phenomenon behind this term might imply some sort of “school” derived from the teachings and artistic preferences that come to the fore in the programmes of the Academy of Fine Arts in Krakow print studios as the majority of printmakers active in this city were educated there. Jan Pamula painter, printmaker, graphic artist, and author of theoretical papers and articles. Since 1992, he is a Professor at the Academy of Fine Arts, Krakow; 1992 Visiting Professor, UCONN, Storrs, USA; 1994 Fulbright Scholar, New York Institute of Technology; 1995 Visiting Professor, Cze¸ stochowa Polytechnical University; From 1996 till present he is Full Professor, Head of the Visual Creation Studio, Visual Arts Department, Industrial Design Faculty and since 2002 also Rector at the Academy of Fine Arts, Krakow. 17.30 Uhr Brita Prinz Spanish Print Awards: A big offering to a big public Since 1973, when the first edition of the Spanish International Award Carmen Arozena, the oldest Spanish Print Award, took place, many things have changed: Important graphics centres have been created since then, promoting artists and new techniques, like the “Fundación CIEC” (Betanzos), “Taller de Grabado Fundación Pilar Miró” (Mallorca) or “Taller de Grabado de Fuendetodos” (Zaragoza). The International Graphic Art Fair “Estampa” has been taking place in Madrid for fifteen years, offering a diverse selection to a wide public, granting the artists the opportunity to become more well known and most of all, giving a chance to visitors to learn more about graphic art and appreciate what a print is. All these facts have contributed to a large development of print awards; in Spain there are convoked about more than fifteen each year, such as the “Premio Máximo Ramos”, “Premio Museo del Grabado Español Contemporáneo”, “Premio Julio Prieto Nespereira”, “Premio Internacional de Arte Gráfico Jesús Núñez”. Brita Prinz born in Germany 1942. She started her professional life in graphic art together with the Spanish artist Jesús Núñez, creating in the 80’s a new concept of art-gallery, combining large exhibition rooms with print workshops, where artists (national/international) had the opportunity to investigate printing techniques and show their results. In addition, many exhibitions of national and international artists were shown. After 15 years of gallery/workshops, Brita Prinz started a project with her new team, which includes, among other activities, the organisation of “The International Print Award Carmen Arozena”, active since 2000. 23. 09. 2007, 16.00 Uhr Seiichiro Miida Floating into the Future Printmaking in Japan dates back to the 6th century and has a very distinct history. The development of very specialized techniques and the social and political situation in a changing society led to one of the most important cultural and artistic achievements of Japan: Ukio-e, the pictures of the floating world. Ukio-e has not only become a part of the Japanese cultural identity, it ignited Japonism, has strongly influenced the development of modern Western art and articulated a visual language that constitutes what can be called the first Pop art. Not only contemporary printmaking in Japan is still using the language developed by Ukio-e – also Manga, Anime and other contemporary popular art forms in Japan that again have become a global phenomenon build upon this tradition. Today, printmaking in Japan is the connection between the historic and contemporary Pop art. The strong tradition of Ukio-e is a burden and inspiration at the same time, and an excellent example of how tradition in printmaking is floating into the future. Seiichiro Miida 1965 born in Tokyo. 1992 M.F.A. Tokyo National University of Fine Arts and Music. Since 1993 assistant of Prof. Noda Tetsuya at the Tokyo National University of Fine Arts and Music, Printmaking Department. Since 1998 lector and since 2002 assistant professor at the Aichi Prefectural University of Fine Arts and Music. Since April 2007 professor at the Tokyo National University of Fine Arts and Music, Printmaking Department. Numerous exhibitions in Asia and Europe. National and international awards. 17.30 Uhr Augustus Mazzocca The Democracy of the Print: Spreading the ink around Through the centuries, prints have had a noble, distinguished, and often infamous history as they informed, inspired and outraged. From the earliest woodcuts to the 16th century Marcantonio Raimondi scandal to Dürer, Goya, Rowlandson, Daumier, Grosz, Posada and Spero, prints have been a force and the foundation of a democratic society. As we move through the first decade of the 21st century, there is no question as to the strength, vitality, and globally connected position prints and printmakers as a group enjoy and command. Printmakers bond because we share not only our art, but also our processes and technologies, and even our communal spaces and tools. I plan to use some of my personal experiences to illustrate the influential effect of international print exhibitions, workshops and symposia involving print students from different countries and projects such as WORD/SHOP, which is taking advantage of current computer and video technologies to facilitate collaboration between English and American students. The print medium has had, and continues to have, a prominent and influential place in the art world. Such international exhibitions and exchanges reflect the impulse for outreach, promote cultural understanding and continue to engage a new generation of emergent printmakers with these values. Augustus Mazzocca born in Boston, Mass. He received an M.F.A. degree in Painting/Printmaking (The Rhode Island School of Design), a B.F.A. degree in Painting, and a B.A. degree in Political Science (University of Connecticut). He has been awarded a Doctor of Arts h.c. (Art Academy of Krakow). Numerous exhibitions at international galleries and museums in Europe, Japan, and the United States. He has been teaching at the University of Connecticut since 1970. |
