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ENDEGRA
European network for
developmement and education in printmaking
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European
Network for development
and education in Printmaking
A constitutional meeting, including
workshop happened in September 2009 in Mölndal, Sweden.
One of the major questions to be addressed is just how the Network will
be able to realise a residency programme,in the future. Since it is the
practicable aspect of the initiative the Network predominantly seeks to
concentrate on, the residency opportunities are of great importance. It
is about improving production terms and conditions for artists, who use
traditional and new technologies within printmaking.
In the current exchange of reflection, ideas, methods, techniques etc.
the artistic and practical experience is articulated from within, by
the purveyors themselves. This in itself strengthens the analysis of
the terms and conditions of Fine Art production and furthermore
reinforces the need for adequate structures in order to ensure the
development of knowledge content. This means, on both an artistic and
knowledge based level, addressing the terms and conditions in Fine Art
production andeducation, a not entirely unimportant contribution
inexpanding the somewhat narrow and institutional concept of Fine Art,
today, in order to reveal its heterodox multitude.
The main idea behind the network
Private and collective printmaking centres
exist all over the Nordic countries and Europe; centres, whichpossess,
renew and develop great knowledge within thevarious printmaking
processes.
A solid foundation for a Nordic/European Network thus exists, a
foundation, which is able to meet the explicit need for an exchange of
both artistic and technical/craft practice knowledge, within the field.
The aim is to consolidate the area by improving access to traditional
knowledge and based on that access, research and develop modern
technology and printmaking applications for contemporary professional
artists and art students of advanced level.
It is about improving production terms and conditions for artists, who
use traditional and new technologies within printmaking.
A constitutional meeting, including workshop is planned for September
2009 in Mölndal, Sweden.
We continue to search for further centres/nodes in orderto discuss and
test forms for the Network’s interface; from the Internet to
residencies. We see the meeting in Mölndal, in September 09,
as a test run for how the Network can work with residency programmes,
in the future. Since it is the practicable aspects of the initiative
the Network predominantly seeks to concentrate on, it is the residency
opportunities in themselves, which are of
great importance.
In what way is the main idea of the network
new/innovative?
Structural transformation in the community occurs continually.
Conditions for development, pedagogy and research change within all
disciplines. More than ever before, the grounds for developing a more
heterodox attitude towards knowledge and education within the Fine Arts
are now being felt. The linear view of the arts
we have learnt to appreciate through history and theory is no longer
representative, if it indeed ever has been. Constructive perception as
to the various pathways to knowledge and education within the Fine Arts
requires numerous and varying approaches. The relevant experience we
possess within the practical tangible field of printmaking exists, to a
great extent, implicitly within the role of Fine Art production itself,
i.e. it does not have to be expressed explicitly, in order to be
constructive.
However in an ever increasingly animated exchange of reflection, ideas,
methods and processes etc. the media expression becomes articulated
more and more, from within by the purveyor. This in itself strengthens
the analysis of the terms and conditions of Fine Art production and
furthermore reinforces the need for ad equate structures in order to
ensure the development of knowledge content. This means, on both an
artistic and knowledge based level, addressing the terms and conditions
in Fine Art production and education, a not entirely unimportant
contribution in expanding the somewhat narrow and institutional concept
of Fine Art, today, in order to reveal its heterodox multitude.
The Nordic, Baltic, European and/or international relevance of the
network It has always been easy for us to reach the Nordic
Countries when it comes to language and distance. As of recent times,
the countries of the Baltic Sea have become a place where the studio
Bolaget Vardagsbilder has gradually, over the years, generated contacts
and drawn interesting parallels, between the similarities and
differences in the history of craft practice, tool formats and also a
mutual commitment to the development of printmaking.
Given that in each and every country, printmaking represents
a relatively limited field within the Fine Arts, it is the combined
ambition of a larger region, which can affect a whole other efficiency.
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© 2010 endegra.org
• European network for development and education in
printmaking
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