Terms & Conditions

  • Once your proposal submission is received, you will be sent an email to confirm receipt. If you do not receive a confirmation email within 7 days, please contact us to ensure your proposal has been successfully submitted. HKOP and IMPACT 11 team will not be liable for any non-arrival of proposal submission information.
  • If your proposal is selected, at least one representative from your group or organisation should be present at IMPACT 11 for the set up and presentation. If special arrangements or equipment is required, requests must be made clearly in the proposal submission for our consideration.
  • Registration fees should be settled via online payment. Cash and cheques will not be accepted. Registration will only be considered complete once the registration form and payment have been received. Payments not received in full prior to the event may result in entry being denied. No cancellation is accepted. Registration fees for IMPACT 11 are not refundable. If a participant is unable to attend and would like to transfer the registration to another person, approval will be determined by the HKOP & IMPACT 11 team on a case-by-case basis.
  • No responsibility is assumed by HKOP, the organiser or the speakers/authors for any injury and/or damage to persons or property as a matter of product, negligence or otherwise, or from any expectation regarding the event, use or operation of any methods, products, artworks, instructions or ideas presented at the event or contained in the notes.
  • By entering the event premises, you consent to being photographed or filmed by the HKOP and IMPACT 11 teams, and to the organiser’s use and publication of audio recording, video recording in any and all media for promotional and educational purposes. No recording or photography on the premises of the conference is allowed during the conference without prior written consent of the organiser.
  • In case of a person (delegate, exhibitor, visitor) infringing the overall interest/aim of the conference or infringing the interest of other delegates, companies or parties involved in the conference, the organiser is entitled to exclude the infringing person/company from the event after an oral or written warning by the HKOP directors show no adequate result. All respective costs in context of the infringement or exclusion are on the infringing person’s/company’s own responsibility. No liability in any way or any reason is taken by the organiser in this case.
  • Applicants are responsible for their own travel arrangements, including but not limited to flight and local transportation, accommodation, adequate insurance cover, as well as related visa procedures. Visa requirements for entry to Hong Kong vary according to the visitor’s country of origin.
  • While every effort will be made to adhere to the published programme, it may be necessary for reasons beyond the control of the organisers to alter the content, speakers, and/or timing of the programme without prior notice. Please check the website for the latest version of the programme.
  • Personal information collected will be held on a database and used for communication purposes. In some cases, related to the funding support to the conference, your details may be made available to the funding bodies or its related department for record.
  • In addition to the provisions mentioned above, these terms and conditions are subject to the laws of the Hong Kong Special Administrative Region.
Acceptance of all of the above terms and conditions is required in order to register for and participate in IMPACT 11.

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Resistance on Paper: Printmaking as Social Engagement

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The authority of printed matters

Bonnie Wong

Printmaker, Academic, Artist, Printmaker, Academic, Artist

Bonnie is a London-based artist and independent researcher. She works extensively with two-dimensional medium, including prints, photography, and books. Bonnie creates artwork by examining and recontextualising found materials. Her work can be seen as socio-political commentary and poetic meditation on identity and migration. Her research for the past few years surrounds themes including languages, interpreted memories, and the concept of an ungraspable future we all face. Her works question the norms of the authoritative nature of printed matters. She lives and works in London since graduating from the RCA, and has exhibited in institutions and galleries in the UK, Europe and China.

The revolution of our times—printed matters from Hong Kong protests


Sio-ieng Ng

Artist, Printmaker, Curator

ZINE COOP

Ng Sio-ieng, Ranee holds a BA in Design (Visual Communication) from the Hong Kong Polytechnic University, and completed the Advanced Cultural Leadership Programme from the University of Hong Kong in 2017. She is currently a core member of Zine Coop, an indie publishing artist collective based in Hong Kong. She actively participates and curates projects that promote printmaking and self-publishing, including ‘Chapters Across the Pacific’ (Vancouver), ‘Freedom-Hi! Zines from Hong Kong’s Civil Movements’ exhibition global tour, ‘See.Saw.Zine? Publish Yourself!’(Macao), Hong Kong Zine & Print Fest 2017, and POP UP PRESS! A graphic art promotion scheme (Hong Kong).

A Contemporary Revolution: Positivism as a precursor to change

Richard Harding

Academic, Curator, Artist

RMIT University

Richard Harding is an artist and educator based at RMIT University School of Art in Melbourne Australia. He is best known for his research into notions of otherness utilising printmaking’s inherent properties of sameness and difference. His research examines sexual orientation, masculinity and codes of representation to explore perceptions of liberation and oppression. Harding’s art praxis is informed by architectural and queer theory utilising reproductive technologies as a vehicle for ongoing studio and gallery investigations. He is aligned with research groups such as Queer(y)ing Practice and The News Network Project producing exhibitions and artworks to encourage discussions of socio-political concerns.

Marian Crawford

Academic, Artist, Academic, Artist

Monash University

Marian Crawford is a visual artist whose art works explore the relationships between the book, fine art printmaking processes, and the printed image in contemporary culture. She has exhibited her work nationally and internationally since 1996. Crawford is a senior lecturer in Fine Art at Monash University Art Design & Architecture, Melbourne, Australia, where she has taught for ten years.

Alison Alder

Printmaker, Academic, Artist

AAustralian National University

Alison Alder is a visual artist whose work blurs the line between studio, community and social/political art practice. She has worked within community groups, research institutions and Indigenous organisations. Her research is focussed on empowering communities through the visualisation of common social aims.

Printmaking as social and collaborative arts practice in Hong Kong

Sally Tsang

Printmaker, Academic, Artist, Printmaker, Academic, Artist

The Open University of Hong Kong

Ms Sally Tsang obtained her BA Degree in Fine Arts from the Chinese University of Hong Kong and earned her Master Diploma at the Staatliche Kunstakademie in Germany. She lived and worked as freelance artist in Germany for over 2 decades and is always switching between the East and West cultures; her passion and areas of interest is mixed-media art and printmaking. Since 2006 to recent, she served as course instructor and consultant of specialist printmaking and advanced printmaking course organized by Hong Kong Visual Art Centre. Currently, she is employed as senior lecturer at the Open University of Hong Kong.

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