Presentation

Cassie Mizuno
キャシー・ミズノ

Independent researcher
インディペンデントリサーチャー

Creativity- A Cultural Perspective.
創造力 – ひとつの文化的な視座について

Despite an emphasis on the importance of fostering creativity through practices that are inclusive of diversity in educational contexts there is a gap in the research and a lack of theory exploring Eastern notions of creativity related to the Visual Arts and absence of associated comprehensive contextual data. Comparative Studies indicate distinct socio-historically constructed understandings of creativity are reinforced within Western Individualist and Collectivist Asian cultures. Creativity – A Cultural Perspective provides insight into the relationship between the Japanese socio-cultural context and the construction of conceptualizations of creativity related to the Arts.

Debora Keiko Ando
デボラ・ケイコ・アンドウ

NCAD Dublin
ダブリン国立美術大学

A Brief Discussion On the Progress of Exhaustion
消耗の過程におけるささやかな議論

The presentation is based on my understanding of intaglio as a phenomenon of entropy, a destructive process that deals with the deterioration of a matrix. According to the laws of entropy, the tendency of everything is to collapse. However if one gets the pieces of fragments and constructs something new suddenly this act becomes an act against disintegration to construct possible meanings from there. This talk will focus on the intersection of different projects that I did where instability and unexpected results were at the core of the practice. Each print is seen as a registration of a singular moment in its temporality and fragility. I intend to share how I created a zone, through the coordination of variables such as temperature, wiping off, ink viscosity, pressure, for the unstable and unexpected to happen concurrently as integral part of the aesthetic of the work.

Julie Irving and students of the VCA
ジュリー・アーヴィング VCAからの参加学生

VCA University Melbourne
ヴィクトリアン・カレッジ・オブ・ジ・アーツ
メルボルン

Mistake as substance: error as a real-time data flow
実体としての失敗：リアルタイムに変動する情報としてのエラー

We approached the Zureta proposition by positioning the mistake as a forceful materiality in itself, one that we were not self consciously waiting for, but a conceptually seized materiality, that could drive a realtime data flow for image production.

Sven Ingmar Thies
スヴェン・イングマー・ティース

University of Applied Arts Vienna
ウィーン応用芸術大学

Errare—Creare
エラーレ – クレアーレ 失敗と創造

Thies’ hypothesis is that every true idea is based upon an error.
What does this mean for the creative process? Where can one find such errors? And can one provoke them?

Naruki Oshima
大島成己

Tama Art University
多摩美術大学

Shifting from printmaking: Photography today as form of printed art
版画からずれる：版画家による写真表現の現

Junri Ikushima
生嶋順理

Tokyo Zokei University
東京造形大学

Images that changed by overlap and blur
重なりと滲みによる変化するイメージ

Chiara Giorgetti
キアラ・ジョルジェッティ

Brera University Milano
ブレラ国立美術アカデミー

misprint as chance
チャンスとしてのミスプリント

The misprint and in general a mistake could be an extraordinary occasion to wide the consciouosness, to reflect on the image meaning or on the visual balance in an artwork. The famous print Accident realized by Rauschenberg in 1963 is an iconic example of how a mistake could resolve and change a “banal” artwork.  Moholy-Nagy said that “ the error is an exhaustible mean to explore the medium” and it means that could become a system for reinventing the medium itself, as Rosalind Krauss stated. The misprint could be a didactic tool, a fantastic occasion to re-use and re-think the starting image, and maybe re-inforce the idea on the project itself. Not only a pretext for new formal solutions but an occurence for avoiding a simple translation between medium.

Marije Jansen
マライエ・ヤンセン

Rijksmuseum Amsterdam
アムステルダム国立美術館

Mistakes in ukiyo-e – Rethinking publishing practices
浮世絵における失敗 – 出版の再考

Mistakes in ukiyo-e were avoided as much as possible. Nowadays these prints are especially sought-after, because of their rarity, and because they often are an indication of an early impression. I will present my research in progress on Hiroshige`s Ohashi print, and try to unravel the publishing order of its various editions, based a.o on mistakes in the printing process.

Fernando Saiki
フェルナンド・サイキ

Tokyo University of the Arts
東京藝術大学

The Accidental Body: a showcase of introducing chance into printmaking practice
事故的身体：版画の実践へ導くための紹介

In this illustrative talk, I will present the print series “Endless Body” as a case of accident turned into creative process in the field of printmaking. The examination of the development steps, from the first sketches to the final prints, will reveal interactions between planning and casualty resulting in artworks that has unpredictability as its premise.

Aleksandra Janik
アレクサンドラ・ヤニク

The Eugeniusz Geppert Academy of Art and Design in Wroclaw
ブロツラフ美術アカデミー

Post-digital printmaking – redefinition of the print
ポスト・デジタル・プリントメイキング – プリントの再定義

„Ich denke immer, wenn ich einen Druckfehler sehe, es sei etwas Neues erfunden.“ 
―Johann Wolfgang Goethe“Whenever I see a misprint, I always think something new has been discovered.”
To err is human. Errors are an inseparable part of human life. We also make mistakes in the printmaking process where it is very easy to err. To get a good print, many factors, both human and technical ones, need to be simultaneously fulfilled. Yet, is technical perfection in contemporary printmaking the only/ the chief determinant of its worth? Asking this question and throwing doubt on it right here in Japan where perfection and pursuit to improvement are almost proverbial, is quite a risky thing to do.