An intermedial printmaking project co-curated by Veronique Chance (Anglia Ruskin University, Cambridge UK)) and Mark Graver (Director of the Wharepuke Print Studio, and Co-Director with Tania Booth of Art at Wharepuke, Kerikeri, New Zealand) Re:Print/Re:Present aims to promote international networks in discussion, exhibition and exchange.
The original exhibition and symposium was held in the Anglia Ruskin Gallery at the Cambridge School of Art, UK.
The project was initiated following discussions with a number of academics and artists from different institutions nationally and internationally, whose concerns centre on intermedial approaches to printmaking and print media where new technological approaches now also include video, digital prints, sound works and performance alongside more traditional ‘hand-made’ works.
This project locates itself at the point where these approaches meet and cross, in the nexus of the editionable act/event/encounter of pulling a print, screening a film or video, recording a sound or documenting a performance and it’s Re-Presentation through its relationship to memory, place and time.
Preliminary discussions were held between Veronique Chance and Mark Graver along with Jo Stockham (Professor of Printmaking, Royal College of Art, London); Johanna Love, (Head of MA Printmaking, Camberwell College of Art, London), Nicholas Devison (UK) Ryan McGee, (PhD candidate University of California, Santa Barbara USA) and other academics from Anglia Ruskin University.
Research Elements and Questions
Whilst relationships to photography and digital media are well-documented through discourses that connect the still and moving image, there is little or no specific literature directly relating the practice, process and praxis of printmaking to that of film, video, sound or performance.
The main question to be raised and addressed through this research project is whether connections between printmaking, film/video, sound and performance are simply technical similarities. There is a shared vocabulary across the processes: we talk of film and photography as a ‘print’; of the performance document; there are shared elements of collage, sequence and seriality; the processes can be both unique or editionable and can exist as multiple originals in different places at the same time, but can these links be made at a philosophical and/or conceptual level? And how much, if any, of the ‘traditional’ print needs to be part of the outcome
Are links across these disciplines thematic and subjective or are the processes themselves connected to a projected meaning communicated through the performative processes of printmaking, video and sound, through the liminal space created across these media?
Components of the Project – Aims and Objectives
It is envisaged that Re:Print/Re:Present will become a sustainable, fluid, evolving entity that can develop, expand (or contract) into numerous international exhibitions, exchanges and collaborative research processes and projects with non-hierarchical entry and exit points.
RE:Print/RE:Present – Ruskin Gallery, Cambridge School of Art, UK 2015
The exhibition featured moving image, sound, object and print works by an initial group of UK, NZ based artists.
A web site archiving the exhibition and symposium held in Cambridge can be seen here
One of the projects aims is to stage a reciprocal exhibition in New Zealand and artists working with relevant media and concepts will be invited to join artists featured in the original exhibitions to further explore the links and correspondences accommodated by the practice and praxis of printmaking . Venues in New Zealand are currently being sought.