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

Paper entitled ‘Embodiment. Bodily Engaged Printmaking’ investigates expanded printmaking practices by artists who incorporate the body into the process of print creation. Matrix derived from the body, skin used as the printing substrate, human as a carrier of print, body as a matrix itself—humanisation of printmaking is being driven to an upper level. In those activities, the question of the role of Master Printer is placed in a new light. Artist is present. Objectification of the body stands for depicting different individual or social concepts. ‘Covariance and layered structure—the indispensable attributes of broadly defined graphic art—are today right in the focus of artistic experiments’ (Marta Anna Raczek-Karcz). Projects discussed in the paper aim at breaking the classic paradigm of matrix-print and redefining the concepts fundamental for printmaking, and they also introduce contemporary recognition of the printmaking medium. All of those activities raise the following questions: is it still a graphic print? Is it still a graphic matrix? Closeness and palpability of print, its substantiality, depicts the influence of relations and interactions on people, and follows the narration from the concept of tabula rasa to the superstructure of meanings, emotions and content. The paper investigates, among others, works by Costa Rican printmaker Priscilla Romero Cubero, Australian artist Angelica Harris-Faull, American printmaker and medicine doctor Eric Avery and Polish artist Zuzanna Dyrda (author herself). All featured projects employ the body as a medium of cultural content, which at the same time possesses a material character. By incorporating the human body in creating prints, these artists fight with their own fears which are incomprehensible or difficult to accept phenomena. Presented projects, prints, performances, matrices are united around similar ideas—they all embody the print.


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