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.
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  • 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.
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  • 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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Proposal Abstract

The work of Carolyn Craig and Caren Florance is discussed in this paper as part of a wave of Australian feminist printmakers that utilise new technologies and transgressive approaches to expand print practice as sites of resistance. For both artists, the materiality of the copy/trace provides a mirrored scalpel to interrogate our current cultural landscape of duplication/expansion from a perspective of printed matters’ historical conditions of production. The artists consider how the digital arena replicates processes of print media in its historical legacies as a reproductive force. They draw parallels between contemporary spaces of formation and traditional studio materiality to use the conceptual basis of print to examine gender and power. Two projects are discussed, Craig’s ‘The Voice’ project (2019/20) and Caren’s ‘Line Work’ (2019). Both these projects use the copy matrix in a variety of expanded formations to interrogate the multivalence of voice as a prism of gendered protocols, biological trace and infringement device. They each examine linguistic phrases that demean, insult and exclude the female gender in social spaces. These phrases are interrogated as devices of control over Othered subjectivities. The artists make powers’ linguistic devices visible through aesthetic forms that force a reflexive consideration over the viewer. They use print-based protocols to draw out what we no longer see, what we choose to accept, ignore, avoid and allow. 

Conceptual works by both artists are discussed in relation to the historical legacy of printmaking as an agent of change (Eisenstein 1980) and its performative use as a transgressive archive (Derrida 1995).

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Academic Paper

How can the material and conceptual terrain of the copy/trace be used transgressively to critique gender power paradigms?

carolyn mckenzie-craig
Printmaker, Academic, Artist
national Art School