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

Dundee Contemporary Arts (DCA) Print Studio collaborated with Barbadian-Scottish multimedia artist Alberta Whittle over several months in summer 2019 to develop new printed works in conjunction with her DCA exhibition ‘How Flexible Can We Make the Mouth’.

Taking as a premise that printmaking is a practice of action as well as documentation, this paper will examine how the materiality, dialogues and live processes of the collaborative print studio are implicit in the relational meaning of the material outcomes of this project. Using an ethnographic approach and observations from within the Print Studio to highlight underlying semiotic structures within print practice, I will consider the collaborative process as a transitional space, where participatory experimentation and social exchanges are translated into the material language of the final print.

During the collaborations of the print studio staff with Alberta Whittle, the print matrix became a site for mediation in both a social and structural sense, acting as an intermediary between action and documentation, as both transmitter and receiver during this creative partnership.

Specifically, this paper will focus on the development of Whittle’s series of prints titled ‘Secreting Myths’, starting with dialogues around her artistic concepts of transience, breath, speech, healing, the documentation of historic narratives, ‘slippage’ and the unfixed nature of things. Through processes using snail trails through to the 16th century engravings of Theodor de Bry, I will explore the language in print developed and used by the artist to re-open, ‘un-fix’ and subvert accepted ‘histories’ of the European colonisation of a so-called ‘New World.’


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Academic Paper

Collaboration and the ‘Slippery’ Studio: Transitional Spaces in the Artistic Language of Alberta Whittle

Sandra De Rycker
Academic, Student, Arts Manager
Dundee Contemporary Arts and University of Edinburgh