3rd International

Printmaking Symposium

November 12-15, 2015

in Bentlage, Rheine, Germany

Blog Post

3) Print Lab

Five artists set up an artistic laboratory to examine the state of the art of printmaking in the 21st century. Their work is closely related to the overall topic of the symposium: space both in a tangible form and the crossing of borders to other art disciplines. The artists combine different forms of art with printmaking and create unconventional and experimental exhibitions.

September 27–November 15, 2015 Catriona Leahy‘s practice is rooted in printmaking but is emblematic of how the discipline and rigor of the medium can transfer across and inform how she approaches and explores the qualities of different material in her work. Leahy examines time, duration, and memory, both in a personal and wider social context, giving these inherently ambiguous, intangible, and subjective phenomena a material and spatial context. Sites left in a state of abandonment or the “modern ruin” often form a starting point. These sites, always in a state of flux, hovering between temporal zones, hold an eerie and compelling fascination for her.

November 22, 2015–January 3, 2016 The artist duo of Daniela Schlüter and Stefan Demming already came together in 2014 to work on their project Luurn bi de Buern. Together with other artists, they offered insight into the disappearence of agriculture from the public recognition and created exhibitions on farms in the Münsterland region. The cooperation of these artists has a special dynamic: Demming works in the field of media art and refers to Schlüter’s photo etchings.

January 10–February 28, 2016 Karoline Riha and Muzak created the project SeenUnseenScene, in which they examine the search for images in world shaped by visual media. Their work is a hybrid of the inner picture of blind people and the visualization thereof, found in a process of translating and interpretation. A dialog between sighted and blind people formed the basis of the project. Blind people could use printmaking by making use of its three-dimensional tools. By using their tactile sense, they could enter the process of printmaking. Riha and Muzak used the results of this dialog and made these images accessible by using sound recordings, printmaking, and animated film.