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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  • 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.
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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.
  • 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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Proposal Abstract

A mokuhanga exhibition took place in the Gallery of the Jan Matejko Academy of Fine Arts in Krakow, Poland, in 2019.

I have invited friends from the USA, Norway and Poland. The curator of the Gallery and me decided to organise the show of mokuhanga especially because mokuhanga is not well-known in Poland and only few Polish artists apply and teach this beautiful, traditional Japanese technique. From time to time, I invited artists from abroad to the Academy to lead workshops for my students. The handbook of April Vollmer was a great support in the matter. Washi paper, which is very essential for the mokuhanga technique, is almost unavailable in Poland. It can be ordered from abroad or in two special shops for restoration of paper art. The Manggha Museum of Japanese Art and Technology in Krakow has a huge collection of ukiyo-e, 4500 prints of Utamaro, Hiroshige, Hokusai and more, donated by Polish art collector Feliks Manggha Jasienski (1861-1929). This unique collection makes a great impression even on Japanese visitors. During the time when our mokuhanga show opened, the exhibition of the masters of ukiyo-e took place at the Manggha Museum and they decided to patronise our show too. I invited artists and printmakers Dr Elisabet Alsos Strand, professor Dariusz Kaca and Dr Tomasz Kawelczyk to come to the opening and make lectures about printmaking and this traditional Japanese technique. Two-day workshops for students were also organised.

During my studies, I met Norwegian artist Elisabet Alsos Strand, who was the first to teach me how to make mokuhanga. My three following visits to Japan had taught me more about paper and how important and precious it is for printmaking. At my residency in Mino Paper Village in 2001, I learnt how to make washi. Since then, as a printmaker, I have started dreaming about learning mokuhanga. I went back to Mino with two other artists who had the same residency after me. We wanted to honour the teachers and hosts with a big exhibition dedicated to Mino Paper Village. The ‘Washi no fushigi—The Mystery of Paper’ exhibition was also dedicated to the Polish Museum of Papermaking and the oldest paper mill (established in 1562) at Duszniki Zdrój. The works presented on this exhibition were paper objects made with pulp produced in Duszniki mill, linocuts made on Kozo paper (mokuhanga) and lanterns, light boxes made of cut paper. For me, light prints could be a conceptual idea which combines printmaking with Japanese taste and subtle and delicate light related to the traditional Japanese paper walls where shadows of leaves are dancing. A theatre of shadows and at the same time the concept of cut paper pictures—‘light printmaking’—is what I am thinking of.


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