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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Proposal Abstract

Twenty years ago, Hubert & Hubert (1999) suggested that in relation to book art, we should best ‘settle for the looser kind of relatedness found in assemblage and, more often, installation art’. They recommended ‘to read an artist book in the same manner as we might interpret a performance where act, agent, agency, and purpose … substitute for and reflect one another’ (p.11) and cited American artist and poet Nick Piombino’s notion of a book work as a ‘holding environment’, ‘wherein we can reconfigure, recombine and challenge our assumptions and presumptions about genres’ (op. cit. p.165).

Today, many book works at IMPACT 10 and elsewhere can be contextualised in those terms. Quite literally, countless examples now adopt the format of a sculptural installation in space and thus confound ‘our presumptions about genres’. I would like to look at Vertanen’s and Uniarts Helsinki Group’s installation on the subject of John Donne’s famous, if seldom read, meditations on illness and death at IMPACT 10. With its tripartite structure of a substantial artist’s book, audio piece and large-scale wall-sculpture—echoing one of Donne’s major formal, literary structuring devices, itself a reflection of a key spiritual ‘motif’—the installation represents an outstanding example of just such a ‘holding environment’, challenging ‘presumptions about genres’, not only about the art of the book. Equally, if not more importantly, its material-aesthetic-conceptual realisation—encompassing multiple instantiations of print—creates a profoundly moving, multi-dimensional visceral encounter for the viewer/listener which succeeds brilliantly in aligning Donne’s contemplations to a contemporary aesthetico-ethical agenda. Thus, the installation not only realises the role of the artist ‘as a witness to his or her cultural and social present’ (Rebentisch, 2015, p.228), its impressive collaborative nature moreover becomes an active demonstration of the possibilities of such a position.


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Academic Paper

Not just ‘expanded print’ but ‘expanded book art’? Devotions upon emergent occasions, after John Donne by KuvA printmakers—students, alumni and teachers from the University of the Arts Helsinki—at IMPACT 10, Santander, 2018

Ruth Pelzer-Montada
Artist And Scholar
School of Art,Edinburgh College of Art, The University of Edinburgh