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

In his 2006 essay ‘PRINTMAKING: A COLONY OF THE ARTS’, Luis Camnitzer, a renowned conceptual artist with a printmaking background, analysed problems of printmakers and reflected on his own practice. ‘I was using a technical discipline to define myself and this was conceptually wrong.’…‘I am trapped in that technical fundamentalism so typical of printmakers. A great mixture of this—a colonial mentality laced with fundamentalism.’

It has long been a challenge for printmakers to decolonise printmaking. At the same time, this colonial mindset of printmakers has been subject to change from the outside due to technological and conceptual changes in reproduction in the digital age. It is no longer necessarily a literal transfer by physical contact, but a conceptual translation and a technology of mediation. The printmaker mediates between objective and subjective states, and they are located outside of the system. In other words, printmakers are not citizens of a single medium but residents, immigrants, or tourists. The position and identity of the printmaker and the immigrant are strikingly similar. Printmaking has a multilayered nature and can be conceived as a cognitive mode that crosses regions. The printmaker stands behind the plate and sees their work from that position. Because of its nature not being face-to-face, printmaking has a blind spot in its core process. 

This group exhibition consists of works by artists who have experienced living overseas and the challenge of adapting to a new place. Each work adapts the essential function of the print in various ways that are beyond the artist’s control during the production process. These works will present, as one of the possibilities of printmaking, the crossing of boundaries from behind—an act which becomes possible solely when the actor is in the position of ‘only being able to see from behind.’


Crossing the boundary from behind

Midori Harima
Artist, Artist