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

A Wandering Genealogy 

Curated by Claudia DeMonte & Cecilia Mandrile 


‘The World is a Handkerchief’ is a travelling exhibition rooted in the Spanish saying ‘el mundo es un pañuelo’, which translates into English as ‘this is such a small world’. The project traces serendipitous encounters, moments of discovering personal connections in distant places or unexpected contexts. This began with the encounter between Claudia DeMonte and Cecilia Mandrile as mentor and student respectively at the University of Maryland, the United States, 25 years ago, and has expanded throughout an international collaborative network of mentors, students and peers. To celebrate this sustained creative dialogue, in 2018 they decided to develop a portable exhibition of 50 handkerchiefs that explores the meaning of belonging and interconnectedness so tangibly brought about by this Spanish expression.   

To reconstruct this alternative family composed of artists and collectives from different latitudes and generations over the last two decades, Claudia and Cecilia printed an edition of 25 handkerchiefs each, which they sent out to invited artists along with a blank handkerchief to be intervened upon with their own reflections on home and belonging. From this exchange emerged this ‘wandering genealogy’—a tribute to the strong threads that have woven a shared territory for roving artists and educators. 

Handkerchiefs have accompanied people in celebrations and farewells in many cultures for centuries, offered bodily protection and coverage, and sustained expressions of political tenets and spiritual beliefs. In this project, handkerchiefs become vessels of memories and itinerant narratives; containers of emotions; translators of wounds, signals of ideological resistance. Each piece epitomises a soft space that holds disappearing recollections of homeland as well as reflections on displacement and identity that can be carried as a tangible memento. In times when touch appears as a dangerous sense, every single printed handkerchief means a meaningful testament of the continuous nurturing mentorship among artists and educators, reminding us that the soft touch remains both an intimate and universal need of communication. 

Driven by the collaborative nature of DeMonte and Mandrile’s practice, and based on extensive research on the history of the printed handkerchief tradition, print-based workshops have been developed alongside the core exhibition. The open and ongoing compelling collection is being created by artists, students and alumni of creative communities led by members of this ‘family tree’. This exhibition includes works made at Zona Imaginaria Graphic Studios (Buenos Aires, Argentina) and the MA Multidisciplinary Printmaking Programme and The Centre for Fine Print Research, UWE (Bristol, UK).  The latest portfolio developed in collaboration with the Centre for Fine Print Research family means a turning point of reflection,  rethinking the notion of Home after lockdown.

The growing handkerchief collection that has emerged from this project has been launched at the London Print Studio Gallery in May 2019 and it was recently exhibited at the Blackburn 20|20 Gallery, Elizabeth foundation for the Arts in New York during November 2020.  A limited edition catalogue, published  by Impact Press, Bristol, UK includes an essay by Gill Saunders, Senior Curator of Prints, Victoria & Albert Museum, London.  In addition, and supported by an itinerant practice, this project is being documented and shared on Instagram @theworldisahandkerchief.  

Catalogues: https://issuu.com/cfpr_research