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

Buckminster Fuller’s text ‘Utopia or Oblivion’ (1969) is a provoking plan for the future where humanity is led for the better, by technology. The text comprises essays from lectures he delivered globally in the 1960s, where he proposed through technology ‘to make the world work for 100% of humanity in the shortest possible time through spontaneous cooperation without ecological offense or to the disadvantage of anyone.’ Fuller advocates a sense of awareness and urgency not only for our relationship with ourselves, technology and the environment but also with each other, to imagine better as a collective task.

This collaborative print project uses the above Fuller text and the spirit of his writings and drawings as a printmaking guide to unravel and interrogate how we collectively can imagine a better future that does more with less. The project made in Belfast Print Workshop allows the collaborative work to emerge over a period of time. Here the artists exchange screens, share prints, print and overprint to create works that suggest new words, propose commentary on the present and imagine better futures.

In this collaborative project, dialogue inevitably occurs between the artists. Dialogue also occurs between the making, the printmaking process and the subsequent reflection on the making and on the process. The responsive approach adopted by the project is in line with Donald Schön’s ‘Reflective Practitioner’ (1991) where researching and making is through action and reflecting in and on the action. That is, thinking and responding in the process of doing or making where ‘reflection tends to focus interactively on the outcomes of the action, the action itself, and the intuitive knowing implicit in action’ (Schön, 1991, p.56). Arguably this process becomes heightened in a collaborative act. The project is also positioned as making in order to discover, or thinking-through-making; what the U.S. writer, Johanna Drucker identifies as ‘stochastic processes’ where the outcomes cannot be entirely defined or predicted but they fully emerge as they come into existence––in other words, it has to be made in order to see what it will be.

The exhibition is an installation consisting of a series of collaborative screenprints and artist books. While language is at the heart of this project, dialogue is also inherent in the collaborative process where the aim is to collaborate across individual artistic boundaries captured in the moment of printmaking. Fuller’s proposal for a more equal and fair society is reflected in a moment of despair where he learned ‘You do not belong to you. You belong to the Universe.’ (1989, Sieden, Lloyd Steven, pp.87-88) This necessary relinquishing of self is brought into focus in this collaborative printmaking project, where the indexical signs presented become both passive and active, absent and present, yours and mine, a necessary middle ground where distinctions give way for another moment of language making.