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    Cataloque Post Event of 2nd Jimb 2016 PDF

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    “We Wi e YAM aa ee Lee ee eg MA a Nea ed i ee HOMO HABILIS-HANDY MAN Wi Wy ORGANIZATIONAL STRUCTURE OF 2” JIMB 2016 Organizer : TERAS Print Studio Operational Support : TERAS Management ‘Supparting Venue : Sangkring Art Project Advisors: dr. ei Hong Djien, Jerry Chambertand, Dr. Melani Setiawan Director: Syahrizal Pablevi Operational Manager : Ria Novitri N Treasurer : Tina Wahyuningsih Data Base : Y. Setiawan Sponsorship : Teras Management Media Relation : Nunuk Ambarwati Graphic Design : Kurma Elda Gustriyanto Documentation : Akbar & Team Teras Display; Alie Gopal English Translation : Jerry Chamberland & "WongDusun” Workshops : Awatara Event : Bertha Operatianal : Iwan, Muzen, Komo Front cover: Dimo Kolibarov / Bulgaria (THREE BEST WORKS), ‘The Diary of A Child-The Golden Fish’, Etching-Aquatint, 20x16 cm, 3/40, 2015 Cataloque published by TERAS Management Address; Somodaran GP. IIV51, Rt. 02, Rw, 10, Banyuraden, Yogyakarta 55293, INDONESIA Email: jogiaminiprints@gmail.com, Website: www jogjaminiprints.com Printed in Yogyakarta, Indonesia Edition: 1000 copies: Organizer: RAS Tiss Venue: Supported: JuKY ean iDrand artsphere FER GHD acter Pre @ ox... as 2 THE 2 ND JoGJ)A INTERNATIONAL MINIPRINT BIENNALE (IMB) 2016 24 MAY - 10 JUNE 2016 SANGKRING ART PROJECT, RT. 01, RW. 20, KASIHAN BANTUL, YOGYAKARTA, INDONESIA, TELP: +62 274 381032, WEBSITE: WWW.SANGKRINGARTSPACE.NET TRAVELLING EXHIBITION September 2016: Balai Soedjadmoko, Solo October 2016: Art Sphere, Jakarta November 2016: Galeri Soemardja, Bandung -_Daflarisi/éontents Pengantar panitla @) fntoduction by the Organizing Cammittes Tema ‘Homo Habis” @ Theme “Homo Habis" Handy Mn ‘Oleh: Agung Kurniawan. Ketua Jur By: Agung Kurmiawan, Jury Chairmarr Kembali Pada Garis Dan Tiik oleh Agung Kumiawan —-Ratuming to the line and the point by Agung kumiawan Catatan JuriA. Sujud Dartanto _ Notes from the Jury: A. Syjud Dartanto Pokok Kekriyaan dan Ideografis: @ The Principal of Craftsmanship and ideograpity ‘Apakah Hesil Ketrampilan Tangan Bisa Bicars Can the products of Skilled Hands Speaks? Spirit Teknik Dalam Bentuk Rupa oleh Andang Suprihadi P (The Technical Spirit in Visual Form by Andang Suprihadi ‘77 seniman terpiih: 28 Negara : 110 Karya Cetak 77 Selected artists : 28 countries : 110 print works DAFTAR FINALIS DAN PENILAIAN “@ (/ST OF FINALISTS. AND RATING Kanys @ Anworks 5 Seniman Tamu @Y 5 Guest Artists 7 Presentast ora | 7 Special Presentations idan @i) Advertisements ‘Ucepan Terima Kasih 2B Thanks Pengartar Panitia Bignal miniprint ini dirancang untuk mengukuhkn seni-gralis dengan solalu memtauka dit teehadap ist-isu mutakhir dalam senirupa dan kehidupan sosial, Ponyegaran komposis jr tawarrnenawar perhal tekmnik yang diperbolehkan hingga parbincangan perlutidaknya tema buat peserta akan menjadi ‘agenda rutin rapat dewan juri di satiap penyelonggaraan. Kall inke tiga juni terpiih. yang diketuai perupa/pemiikruang seni Agung“Leak*Kurniawan dengan anggota: pegrafis/pengajar Andang Suprihadi Pdan kuratoripengajar A. Sudjud Dartanto sepakat menyodorkan tema "Homo Habilis"yang menggiring pertanyaan kite semua betapa seni pa kontemporer dan kehidupan saat ini terasa kurang menghargai “kekustan dan keajaiben tangan’. Ke 4 tekrik konvensional seni gratis —yailu: Reet print, intaglio, Pianagraph dan Serigrapny juga disepakall juni sebagai teknik resmibienalyang kedua ini Selelah beberaps kal tertunda Karena menunggu Kary paserta dari luar negeri samp ke panitia, akhienya seleksi diakukan tanggal 24 April 2016 berlempat < kebun Bibi sebuah art space di jalan Ninggiran, Yogyakarta. Dari 167 pandaftar asal 32 negara yang mencatatkan namanya, hanya 147 peserta dari 30 negara dengan jumiah karya sebanyak 331 buah yang dapat mengikuti seleksi. Selebihnya ada yang mengundurkan dif, tidak memberi kabar dan ads bebsrapa eserla luar negan yang karyanya belum sampai sehingga {erdisqualifkasi, Setelah diseleksi didapat 77 seruman asal 28 negars (Australis. Austria, Argentina, Belgia. Brazil Bulgaria, Finlandia, Hungaria, India, Irlandia, Ital Jepang, Jerman, Kanada, Prancis, “Peru, Polandll Kroasia, Malaysia, Mesiko, Montenegro, Russia, Serbia. Swedia, Ukraina, Inggris, Amerika dan dan Indonesia sendit) Gengan jummian karya sebanyak 110 bush yang beak mengikuti pameran The 2nd Jagia International Miniprint Biennale (JIMB) 2018. Jumiah ini masih terri dari 28 Seniman Indonesia dan 49 seniman inlemasional Dewan jun memilin karya -karya finalis berdasar pengetahuan, pengalaman dan sensiiitas meraka solaku Senimantpongajartkuralor dan pengoloia art space yang cukup disegani di Indonesia dan kawasan intemasional Hingga akhimya jka terdapat kamposisi yang timpang antara jumlah peserta Indonesia dan peserta internasional yang lolos selaksi termasuk memutuskan § pemenang yang kesemuanya dari peserta intemasional (3 BEST WORKS diraih seniman Bulgaria, talia dan Kanada dan 2 EXELLENCE WORKS diaih seniman ttalla dan Poiana) ) ‘adalah Kondisi rl seni grafis Indonesia yang harus dinadapi dandisikap| secara posit olehkita semua, Seturut Kehendak mengskomodir Isu-s5u. mutakhi, selain ‘memamerkan karya finalis dan pemeniang, 2nd JINE Kal ni mengundang 5 senimen tamu, 2 dari Indonesia dan 3 seniman intemnasional yang diplin berdasar kntera yeild Seniman dengan kontitusi penting dalam sen gratis (Setiwan Sabana), pegraf's milan (Yamyuli Dwi Imam), penemo teknik populae-Kitehen Litho (Emilie Aizier) seniman grafis penting internasianal (Art Werger) dan salah salu pemenang karya terbaik bional periama (Lidija Antanasijevic}. Dalam bienal kedua ini ada juga “Special Presentation” dengan mengundang 7 seniman indonesia Untuk menampilkan karya-arya print dalam kemasan dan format yang dinamis dengan tajuk ‘Dari Tredisional sar>pai Digital”. Mereka adalah: Alm. Haryadi Suadi, Edi Sunaryo. Bambang Toko, Farhan Siki, Deni Rahman, Theresia A. Sitompul dan Agugn Prabowo. lini semua dilakuken untuk menjsdikan bienal ini semakin dicintal dan ditunggu publik dan senimannya. Yogyakarta, 3 Mel 2016, Introduction by the Organizing Committee The Jogia International Miniprint Biennale (IMB) is designed to show that pnntmaking is aways open to current issuesin art and social ife. The chairperson of the 2nd JIME: 2016 jury is artist and gallery owner Agung “Leak “ Kurniawan. Members of the jury include printmaker and lecturer Andang Suprihadi P and curator and lecturer &. Sudjud Dastanto. The jury members enjoy substantial reputations in Indonesia and in the inlernational art carnmurity Changes in the composition of the ary, open and rank debates about the types of printmaking lechniques which should be accepted in the Biennale, and discussions aboul whether or nol a theme for the Biennial necessary aré all routine agenda items at JIMB jury meetings ‘The Jury agreed on the theme “Homo Mabilis"{the Thandy man In pre-history, a cultured primate or prote-human and the first documented proto-human to use toolsjlo accompany our ‘question:"How far does contemporary aft and contemporary lif underappreciate the strength and miracte of the hang?" was also agreed by the jury that in the second Biennale work could be submitted using four conventional printmaking techniques: rele’ printing (weodeut, linacut, rubber cut, collagraph),intaglo (etching, crypont, photo-etching, aqustint, mezzotint). plenograph (lithography), and serigraphy (silk screen and stencil ‘alter extending the deadline several times in order to: provide sufficient time for submissions from abroad to resch the Organizing Commitee, selection was carried out on 24 April 2016 al Kebun Bibi, an art space in J. Minggiran, Yogyakarta Frorn a otal of 167 artists from 32 countries who initially rogistored.a total af 331 warks by 147 artists frarn 30 countries were raceived by the Commitive and included in the selection process. Others withdrew from consideration, did not subrnit ‘work as initially indicated, or their work did not reach the ‘Committee in time, Results of the final selection comprised a {otal of 77 artists: 28 from Indonesia and 49 from 27 foraign counties including Australia. Austria, Argentina. Belgium Brazil, Bulgaria, Finland, Hungary, India, Ireland, Italy, Japan, Germany. Canada, France, Peru, Poland, Croatia, Malaysia. Mexico, Montenegro, Russis. Serbia. Sweden, Ukraine, the United Kingdom, and the United States. One hundred and ten works were selected for inclusion in the 2nd Jogja International Miniprint Biermale (JIMB) 2016, ‘The finalists were selected by the Jury based on thelr individual knowledge, professional expanence, and sensibility 26 artists, teachers, curators and galleriss. Abatance in the campositon of participatingartists was achieved between Indonesian and foreign artists, The five finalists, to be-annaunced on 24 May, ‘are all international artists. The three best works are Dy Bulgarian, Kalian andCanadian artists while two artists who were awarded ‘Excellent’ are from Poland and Italy. That this year no Indonesian artists were chosen is a fact which needs {tobe understood and accepted positively in the context of the curent reality ofprintmaking in Indonesia. In order to take account of the latest issues in the world of printmaking. JIMB 2016 has invited five guest artists, two Indonesian and three international artists. inclucing one af the winners from the first JiMB 2014 (Lidija Antanasijevie) to panicipate in JIMB 2016. The artists were chosen bacause of theitinternationsl reputations (dart Werger) important contributions.2s printmakers (Setiawan Sabana}, introduction ‘of popular technical innovations. Kitchen Litho (Emilie Aizier), OF widely acknowledged dedication io prinkmaking (Yarnyuli Dwi Imam). A specal exhibit is als. scheduled: Seven Indonesian artists; (tie late) Maryadi Suadi, Edi Sunaryo, Bambang Toko, Farhan Siki, Deni Rahman, Theresia A, Sitompul and Agugn Prabowo have been invited to show thoir work in.a dynamic presentation tited "Fram Traditonal to Digita’’ tis hoped that these new features will create greater inierest in and aliract more members of the public to the Biennale. Yogyakarta, 3-Mai2018, SyahrizalPahlewDirector TEMA: "Hameo Habis” (Cie: Agung Kimiwn, Ket ju Homo Habiis, adalah kera modem alau prota manusia; adalah mahluk berjalan dengan dua kaki yang pertama torbukti membuat alat. Kamampuan untuk mnangoptimalkan ‘tak dan berimbas pada kemampuan untuk menggunakan jar an tengannya untuk membuat “perkakas” Homo nabilis adalah ‘manusia’ pertama yang berjalan tegak den ditangannya yang panjang dan pelal itu tergenggam kapek penmbas. Manusia yang memuliskan tangan mungkin Mt ‘stan yang tepat untuk merexa. Dalam siluasi seni sekarang langan seniman tidak lagi Gianggep Signifixan untuk menefuskan “gejolak™ atau lina ‘Seni bisa cibuat dengan bantuan arisen, mesin atau benda- benda perantara lain, Maka kembali menggunakan tangan atau ber-homo habilis {si tanganimausia (ramp) adalah sebuah ziarah atau mungkin juga sebuah tibk balk yang eating. Seni dan seniman kembai dihadapkan pada situasi head to head antara bentuk biologisnya dan keinginan untuk mengungkap gagesan, Marusiaseniman Kembla Pat ntangan wntuk melanjutkan gagasan-gagasannya. Sentcelak rahe memunghinkarimuncunye sues fu, Dalom Seni cetak grafis, seniman dikambalikan pada intuisi dasamnya sebagai pekarja seni; kemamguan kekriyaan. Kemampuan keknyaan bisa disrikkan dengan kemampuan (me) rangksi, susun dan bust dari banda mentah menjadi benda bemilal seni. Seni iain bisa jadi tidak sedekat ini, Seni cetak grafis, ferutama jka dilakuikan oleh para pekerja profesionalnys, elas mennperinatkan stuesiini Proyek Mini Print Biennale kali ini bertemakan ide ini: Homo habiis, manusia tcampil. Bagaimana seniman kembali menggunaka intuisi aasamya untuk menciptakan Katya Seni ‘Menarik untuk diihat nanti kembalinya si tangan tramp, he handy man, sang Homo Habits terakhir, Kembali Pada Garis an Titik Memandang karya karya yang terseieks! sebagai tiga besar dalam pameran ini seperti molinat kembali karya grafis pada aval perkerbenganys: vadsional den [Sangat crafty. Manakromatik itulah forihet. dan sebagion deripadanya covet dengan teknik yang selua seni grafis itu sendin; etsa. Selain dart cin cin yang a Joisebut i ates. hal lain yang menarik ‘adalah adsnya kecenderungan naratf, Korya-karya pemenang seolah merupakan potongan sebuah cerita yang entah apa, sehingga seolah harus tertaut pada satu naraslyang bisa jadi tidak akan pemah aria, Poda pameran Kali ini unsur kekriyaan gratis ingin dipertinatkan dan ditonjelkan, Untuk ituiah kenapa tema Haro Habis dipilin, hisal Karya Paolo Ciampini, garis. renik, det dan ditimpa dengan tekstue aqualint memperinatkan hbagaimana etsa atau seni gras itu mandapatkan poputantas dengan cara_mempertunjukan dell! garisnya. Garis yang ditoreh seperti menjadi “rakesasa” karena rau tidak mau kita hharus metihat karya-karya ini dari dekat. Mengangkat doxat sekall ke mata. Kita bahkan seolsh bisa mencium lembab kectasnya. Karya ini menunjukan dengan piewai begaiman ‘ampu paris bekeqa Karya seni grafis memang menuntut untuk dilhat dari dekat, spalagikarye mini seperti yang adadalam pameran ini. Tanps melihat dengan dekat dan cermet kits akan kehllangan esensi ddarikarya kanya ini garis dan taktur yangmembentuknarasi. Garis dan tekstur yang dipertontonkan pada karya-karya *pemenang’ ini menunjukan bagsimana kerja tangan mamnpu. menghaailkan karya yang baik, Bawa karya seni catak atau seni grafis memang mau tidak mau harus teres menerus THEME Home Habilis" Handy Man By:Agung Kumizwan, Jury Chairman, Homohabils was a cultured primate or proto-human; a being which walked on two legs and was the first documentad proto- humanto use tools. His capacity to use hés brain had an impact 7 his ability to use his fingars.and arms tomake tools’. Horna habilis was the first human'to walk upright: with his ang strong arms holding an'ax..Abeing which glonfied the hand is perhaps the mast accurate term for him In the current ant environment the arist's hands are na longer considered significant in carrying on the struggles of the soul Art can now be made with the Nelp of artisans, machines, or other ebjects and intermedianes. Thus to return to tha use af hands, skilled hands, isa kind of pilgrimage or perhaps also an important turing point, Art and artists return to be faced by the situation -head im head - between bisiogical forms and the desire to express ideas, Human artists return again to the glorified hand loregenerate their ideas. Andis printmaking that has made this passibie, Inthe process of printmaking artists relum to their basic intuitions as art workers; their capacity for skibed craft. Skill can be defined ax the capacity to amange, construct, and maka objects of artistic value from raw materials. Other art forms may not be as intimate as this Printmaking, especially work by professionals, clearly demanstrates this, itis this idea: the concept of Homo habilis, the handy man, hich is the theme of the 2nd JIMB Biennale. How the artist Fetumsto use basic intution tocreate art. It willbe interesting to 88; the retum ef the glarifed hand, the handy man, the final HomoHebils. Returningte the Line andthe Point [Looking at the work salocted by tha jury as the best three in “JMB 2016 is like looking at printmaking at the beginning ofits ‘development; traditional and extremely crafty. What we 583 is monochromatic with a number of the works using a technique ‘as old as printmaking itself. etching. In addition to this feature another interesting point is the tendency to reprasent narratives. The works of the winnrs saem tobe fragments of a story, the point of which isnotciear until inked to @ narrative ‘whichitself maynavermateralze, in this exhibation the craftsmanship factor in printmaking is prominent, which is reflected in the theme, Homo Habis, For example.in the work of Pasio Cianipini, microseopie lines, ‘etal, and layerad witn aquatint lexture shows now etching ar pprinimaking can gain popularity by showing the deiails of line, Notched lines become ‘gigantic’. These works must be ‘viewedup close, paling them near our eyes. We may even fel ‘as f'wo.can smellthe dampness ofthe paper, This composition ‘expertiy shows outhow a master afline creates his work. indeed, prints demand to be seen up ciose, Even more, mini- prints fiko we see in this exhibition, Without regarding them up ‘lose and looking carefully we miss theesence of these works: thaline and textures that shape anarrative, ‘The lines and taxtures which are seen in these “winning” works show how work done by hand is capable of producing ‘outstanding wort-that prints or graphic art mustalvays remain involved with basic techniques and alsa how those fundamental techniques are enriched by other atfixations; themes or narratives Most of bast works in this exhibition were done by international artists, which reflects. 2 decline in prinirmaking in Yogyakarta or more generally in indanesia today. | think this exhibit is a berurusan dengan teknik teknik dasar, dan juga bagaimana teknik dasaritu siperkaya dengan imbuban imbuhan tain: tema ataunarasi. ‘Sebagian besar karya terbaik dalam pameran ini dibuat oleh pegrafis dar luarnegeri juga menyiratkan Kermunduran dalam ‘seni grafts Jogja atau Indonesia sekarang ini. Saya kira, pameranini adalah lonceng tanda behayabagiperkembangan seni prefs Indonesia. Jad beruntunglah kita punya pameran ssepert in Agung kumiawan Catatan Juri, Sudjud Dartanto Poko Kekrivaaan dan Ideografis: Apakah Hasil Ketrampilan “Tangan Bisa Bicara? ‘Alam, dan manusia, kedua eksisien ini mewarnal sejarah produksi manusia, Alart dipandang sebagai eksisten yang mengancam, karena itu alam harus ditakiukkan, ‘dan alat hanes. dicigtakan Untuk melindungi, mengurasi kecemasan ekistensial manusia, bahkan mengantrol jalam ity sendin. Sampai di era post industrial ini, alst produksi telah menjact satu struktur dengan anatomi tubuh manwsia itu send Sejak pertama ditemukan, lat produksi tdsk saja untuk mengubah alam materi menjadi benda yang mempunyal nial sguna fungsionel, tetapi juga dirancang sebagai benda yang Dunya nilai ideogratis, yaltu beads yang bisa relembangkant hervagai gagasan melalui beragi ungkapan logotekniknya masing-masing, Seni ceiak grafis adalah salah sata cabang Seni pa yang kaya dengan logoleknik, ibaral stok genre yang Himaikl dalam tek Kesusasteraan, Tarik misalny dat tek intagio, relief hingga elektronis, masing-masing mem lurunan teknik, dan potensial torus diperiuas, dan terbuka untuk terjadinya saling-silang teknik Kekayaan Ingotoknik ‘dalam soni gratis ini yang membuat 331 karya celak kecl dari 147 peserta yang berasal dari 30 negara tampil dengan kebebasan wicaranya, Seleksi dilakukan dengan mempertimbangkan pokok kekriyasan{crafismanship} sebagai konsep seleksi paca JIM kali ini yang ingin memuliskan tangan. Secara universal poxok keariyaan ini mudah dimengert, dan satiap sejarah-sejarah pproduks! memilki pandangan dan nilal tersendiri pads pokok kesrlyaan ini. Spirit konsep seleksi ini ingin mendekonstrukst andangan finer dari mademisme yang menempatkan art lebih uiama dari craft, atau ide lebih rmulia dari kelerampilan tanga, Dalam sejarah pradulsi, kerja keterampitan ini terkait dengan berbagal nilal yang sesungguhnya sama saja dengan keris kogniti, boak ada yang mendahulul atae lebih utara, Dari tukuran ‘penjurian ini selanjutkan saya ingin mengajak kita berwacana dengan pertanyaan refleksif; apakah has ketrampilan tangan bisa bicara? Melalui pengalaman menyimak dan menyelaksi karya-karya pada JIMB kali ini saya borkeyakinan bahwa karya-karya ini sudah menjadi bukti kuat adanya kekuatan wicara dan perupa yang hadir melalui kecakapan menguasai logotekrik, yang lahir dari sjarah perkembangan alat produksi dalam dunia seni grafis. ity sendin. Yogyakarta, 3 Mei 2016 ‘wearing signal fer the develpment of printmaking in Indenasia, We are fortunate ta have an exhibit Ike JIMB 2016 where we can learn a great deal from the examples of other printmakers. and apply this knowledge tothe future development of printmaking inindonesia ‘Agung Kumiawan, Notes from the Jury: A, Sudjud Dartanto The Principal of Craftsmanship and eography; Can the Products of SkilledMands Speak? Nature and human beings: these two phenomena oolor the history of human creation. Nature is seen as threatening and thus must be subjected. Objects must bs created and 10 eliminate anxiety from human existence, even to the extent of controling nature ise. In the current post-industrial 6a, one of the results of human invention is constructions with the anatomy ofhumans themselves. From the beginning, the products of human creativity were ‘meant not only to change the form of naturel materials and to possess functional value but were also meant 10 have Ideographic significance, Le. fo symbolize or represent diverse idess through various teenniques. Printmaking is a branch at the visual arts rich in teehnique, ike @ stock genrein the iterary domain, Take for example intaglo; from relie! to digital, each Cisplays derivative techniques as well aS the potential to expand and include the possibiliy of developing crisscross, techniques, Inthe case of JIMB 2016, thetochnical richness of printmaking has generated 331 small prints; the free fexprnssion of 147 artists from 30 countries, \Witt the intent of enabling the human hand, the setection of works for inclusion in JIMB 2016 was made by weighing the principal of crasmanship 35 a selection enterion, in broad torms, craftsmanship is easy to understand and the history of human invention and creation displays its own perspectives and values in regard to this. The conceptual spirit behind selection for JiMB.2016 is the desire to-deconsiruct the binary perspective of modernism which values art above craft, the Ides that is nobler than craftsmanship. Inthe history of human creation, craftsmanship is connected to a range of values which in fact are the same as cognitive roduetion, neither is prior to. or more-important than the other From the viewot the jury, | want to invite the public ta engage in 8 discourse, 10 consider Whe reflexive question; can the Products of craftsmanship speak? Based on the experience ofsurveying the submissions and selecting the works to be included in JIMB 2016, | am confident that they offer old prot of the strength of the artist's discourse; their prowess in ‘mastering the techniques of printmaking , bam from the histary cof human creativity and reflected in the world of printmaking itso Yogyakarta, 3 May 2016 SELECTION PROCESS OF AND JUMB BY WAVES AT REBUN BBL YOGYAKARTA, 24 4 ‘SPIRIT TEKNIK DALAMBENTUKRUBA Memiiin 3 karya seni gratis terbaik dari ratusan karya lainnya pada The 2nd 4JIMB 2016 memang bukan hal muah. Apalagi karya-karya tersebut ‘mempunysi kualitas yang nyaris Sema, maka hemudian fakior subjekii ‘akan tampil untuk mempengaruhi pendapat. Oleh karena itu komunikas! para juni untuk mempertemukan pandangan yang akan dikonversi ‘menjadi sualu keputusan sangat ‘dipediukan. Pada kesempatan ini banyak seniman dari berbagai penjuru ‘dunia yang mampu menampilkan alau menyajikan karya- hkarya dengan penguasaan tsknik dan bentuk-bentuk yang luar biass. Teknik bagi mereka sudsh merupskan jive atau sspirt dalam menghidupkan bentuk-bentuk visual. Melalui teknik ini mereka melampaul unsuf-UNsuUr rupa, baksn teknik sudah bisa mengatasi batas-batas formalistik sehingga ‘ungkapan-ungkapan teknik dan aspek benfuk visual tersebut ‘akan berbicars berssma-sama dan tidak lagi terpisah-pisah ssecara parsial Apablla seseorang sudah tidak lagi mempersoalkan [penguasaan beniuk dan ide maka bukan persaalan seberapa Sulit atsu mudahnya sustu teknik dalam seni gratis. akan 'mampu menyajikan karya yang bagus. tetapi bebin kepada ‘seseorang yang mempunyal kemampuan memih dan memantaatkan sustu teknik secara tapat dalam ‘mengungkapkan idenya tentu akan menghasitkan karya yang bbagus, ‘Sepeni disajiken oleh seniman italia Paolo Ciampini, pads bkaryanya yang berjudul The Woman, ja menghadirkan sosok figur wanita yang didukung wams-wama sephia dengan teknik etching dan dia mampu melampai kesan-kesan visual ‘yang dihadirkan secara fotografis. Ruang dan kontras karya ibiss memberi makna romantis. Kesatuan ide, bentuk dan tekniknya tidak lag) bisa dipisah-pisankan. Tekniknya secara ust mampy menguasal gagasan dan bentuknya sehingga ‘menjadi spirt bagi karyatersebut Pada karys Deborsh Chapman dani Kanada yang berjudul Murmure denga teknik intsglio, bentuk-bentuk surealistk sdisajikan secara halus. Ruang sebagai ajang penyajian drama pplastisitas imajinasi, penempatan bentuk pada format yang bkecil dangan Kontras-kontras yang Sangat halus menunjukkan bbetapa penguasaan gagasan, bentuk sampai teknik untuk ‘memvisuaikannya. Disana tampak sekali peranan teknik yang ‘incl dan detail mampu menjadi spirt skan kenadiran Karye tersebut Kemampuan teknik yang sangat lusr biasa disajian oleh sseniman Bulgaria, Dima Kolibarov. dalam karyanya Cycle The Diary OF A Child — The Golden Fish, dengan keterampilan teknik manuainya, etching dan aquatint. dia mampu ‘mengatasi dan melampaul panggunaan teknik-teknik digital ‘untuk menjelaskan persoalan-persealan visualnya. Penggunaan dan penatasn warna-wama seria beriuk-beriuk yang unik dalam gagasan kontemporemya. figur yang ‘tepresentasional semua sangat akurat. Betapa kemampuan ‘seniman tersebut mampu menghaditkan roh dari keryanya dengan akurasi teknik yang sangat luar bias. Melihat karya tersebut setiap orang pastl akan berdecak kagum bukan sje hkarena aspel-aspek visuainys, telapl juga belapa aspek visual ity disajikan dengan teknik yang sangat luar biasa, ssehinggs teknik tersebut mampu tampi sebagai spint dari bkarya tersebut. Yogyakarta, Imei 2016 ‘Andang Suprihadi P ‘The Technical Spiritin Visual Form Choosing the three best prints from the hundreds of works submitted in the 2nd JIMB 2016 was not easy Even more 50 because the works submitted were all of almost equal quality. Thus subjective factors also affect one's opinions and effective communication amongst jury members was essential to reach ja consensus and make decisions. Artists from many parts of the world submitted work which demonstrated 4 mastery of various graphic techniques and presented extraordinary forms. For these aftists technique is the soul or spirit which drives and enlivens their visual forms, Through these techniques the artists go beyond the mere factor of appearance; techniques can overcame formalistic boundaries s0 that technical expressions and aspects of visual forms speak. 5 it were. and are no longer fragmentary and incomplete. For an artist who-has effective control of form and ideas, how a printmaking technique contributes to creating 8 good work does not present a problem in other words. someone who has the practical capacily to identify and employ 2 particular technique to precisely express specific idea(s) wall perforce produce.good work. Inthe Italian artist Paolo Clampini's The Woman. the figure of a woman is depicted ina sepie-toned etching which goes beyond the visual impression presented photographically. Space and Contrastin the work givelt 8 famantic masning. The unity ofthe idea, form and technique cannot be separated. Strong technique dominates the form and Kea. In the intaglo print of the Canadian artist Deborsh Chapman titled Murmure. surrealistic shapes are delicately represented, Space as a stage performance; the plasticity of imagination and the placement of small forms with refined contrasts show her mastery of ideas, forms, and technique. visually expressed. The role of technique, detailed and specific, enlivens the work. In.Gyole The Diary Of A Chas —The Gaiden Fish, the Bulgarian artist Dima Kolibaroy also demonstrates. ‘extraordinary technical aby in etching and squatint. He surpasses the use of digital techniques to clanty visual problems through the use land arrangementof colors in unique shapes and contemporary ideas. Representational figures are rendered with extraordinary technical accuracy: Looking atthis work, Mewers will certainly shout with praise, not only because of the visual aspects, but alsa because of how those visuals elements are presented through extraordinary technical mastery. The three wining works discussed above show how strong technique and sfiention to deta emerges as the spirit of the works themseives. Yogyakarta, 3 May 2016 ‘Andang SuprisaaiP. ARTIVE ABOWT PRERARATION OF 26ND JIMME ON SARASWATI MaAZINE F SELECTED ARTISTS : 25 COUNTRIES : Ilo PRINT WORKS LIST OF FINALISTS AND RATING three best works*****, eetlence Works***, 2yurar choice, 1 urar-Chotce*, Exhibiton Choice) 10 uL 12 13 14. 15. 16 1. 18. 18. 20. 2. n 2B 24. 25. 2. 2. 2 28. 30. 3 2 33. 34. 3. 36. 3, 38. Argentina / ANA MELAND (2) Australia / CAROLYN MICKENZIE CRAIG (1 Australia / CLEO WILKINSON {2} ‘Austria ELMAR PEINTNER (3) Belgium / THIERRY WESEL (1) Bulgaria DIMO KOLIBAROY (3) Bulgaria IWAN NINOM {1} Bulgaria / STANISLAV BOZMANKOV (2) Bail ADRIANO CASTRO) (2) Canada / DEBORAH CHAPMAN (3) anda / DEREK MICHAEL BESANT {1} Canada / VALERIE SYPOSZ (3) Croatia /EOVIN DRAGICEVIC (21 Finland / KIRSI KUUSISTO (2) French / NICOLAS POXGNON (2) German / CHRISTINA KIRCHINGER (1) Hungare F PAL CSABA [1) India LAVANTA NASKAR (2) India /ISHUJINDAL (2) India / RAKESH BANI (2) Indonesia / ADISUNDORO {1} Indonesia / AHMAD OKA PRASETYA.AN (1) Indonesia / AH¥AR RAMADHAN (1) Indonesia / ALFIN AGNUBA (3) Indenesia / ANDI OKTA FERNANDES (2) Indonesia / ANGGA SURMA PERMANA (1) Indonesia / ANTONUA KUSUMA MARIA (1 Indonesia / BHAKTI TANZA LUTHE! (1) Indonesia / DHARNY SANA (1) Indonesia / EGGM JAVA PRASETYA. (2} Indonesia / FERNANDO SIMORANGKIR [2) Indonesia / GEUGEUT PANGESTU $ Indonesia / GIRI GWINANTO {21 Indonesia / HARDINAAN [1) Indonesia /IMMARTHAS GHINAA {2} Indonesia / INDIRA NATAL (1) Indonesia / RUS DAAIAT (A) Indanasia f PANCA SATAIA (2) Prot 1 ” = “a ' a » ¢ 1" Y Y - ” is ” a, at 38 40. aL 42. 43 44 45. 46. 7. 48. 493. 50. SL 52, 53. 54 55, PESEE 62, 63, 65, FeRSIB Tr nh 74. 75, 7 Indonesia / M, MUHUS LUGIS (1) ledonesis / PRAYITNO VITNG (1) ledonesia / PRIMATMOKO MOK! (1) Indonesia / RIZAL EKA PRAMANA (2) Indonesia / RIZE ORIFAN (1) Indonesia / RUDI HERMAWAN [2) Indonesia / RENO MIEGY SETIANAN (1) Indonesia /TITO TAYAMEI (2) Indonesta / WAHYU WIDIANTONO [1) indonesia / YUNANTO (11 Iraly BARBARA BABISCIA FALLIN (1) traly PAOLO CAMPINA(3) Italy SANDRO BRACHITTA (2) Italy /SUVANA MARTIGNOM! [2} trelane JOE RYAN (1) Japan / IDESAI MORAN (1) Jopan / HIRORK! SANC: 2} Japan / YUMEM KOBA¥ASH! (3) ‘Malaysia / MOCH, FAWAZIE ARSHAD (1) Malaysia / MOCH, KQBAL BADARUDDIN (1) IMesico / SILVIA GAONA MORENO (1) Montenegro / JELENA JOVANCOV1) Peru MANLELLAU (1) Poland / ALEXANDRA BURY (2) Foland / ANNA SEP (1) Poland / KATARZYNA GIELECKA-GRZEMSEA (2) Poland / KATARZYNA ZIMAA (1) Poland / LUKASZ.CYWICK! {1} Poland / PROTRZACZEK (1) Poland / SARA CARILLO (2) Pkand /'WERONIKA SIUPKA (2) usa / NATALIA HIMMMAIRSKA (1) Serbia # ANITA JOWANOWIC (3} Serbia J GORDANA PETROVIC (1) Serbia ¥ RANCA CIC JANREVIC (1) Sweden / ANN-KRISTIN KALLSTAOM (1) UK / COLUN GILLESPE (2) Useaina / OLESYA OZHURAYEVA (3) USA / EAROWN MUSKAT 2} " ” 1 r 1 = 1 ” 1 wt a " ” ” " Y a2" 1” karya / artwork 3 KARYA TERBAIK / THE THREE BEST WORKS Canada Deborah Chapman “Murmur” Mazzatint, 12x15 om, 4/17, 2016 Bulgaria Dime Kolibarov “Cycle ‘The Diary of A Ghile!-The Golden Fish” Etching-Aquatint, 20416 cm, 3/40, 2015 tialy Paolo Clampini “The Woman" Etching, 8.5x7 om, B40, 2014 tray Silvana Martignoni “infinity Vortec ‘Gots V" i Etching, 16,5x13,5 cm, 2084 Mezzotint on Copper Plate, 17x17 em, 339, 2018 elusilaiiaid Argentina ‘Ana Melano 12 February 1963 Bachelor of Fine Act anametanot2d2g@gmail.cam “Is Eneught A Button IX ’ Intaglio, 10x10. cm, B12. 2014 “Is Enought & Button X° Intaglia, 10x10 em, 10/12, 2014 Australia Clea Wilkonson BOclober 1959 Graduate Diploma = Library and Information Science, Queensland University of Technology, Australia Bachelor of Fine Arts (Honors) Auckland University, New Zealand wakinson_cleng@hatmail com Australia “Elsewhere” . iva Mckenzie Cra : Senay ts Mezzo 10x10 er, wines I (2011) First Class Honours ‘W50, 2015 Mezzatini, 10x10 cm, Queensland College of Art Griffith University, Brisbane Currant PHD candidate carolyncraig88@gmail.com Austria Elmar Pointner 13.0ctober 1954. (1979) Diploma Academy off Austria peintnan®ipaintner at “Posture 2-Camera Sentenced’ Ars, Vienna, Photopalymer Etching- Drypoint-Chins Colle, 20x20 em, 1/8, 2015 "Crossing The Road” Etching, 14.5412 em, 5/90, 2015 “Remembrance” Belgum Etching, 11,5285 om Thierry Wass 18150, 2015. ‘1958 Nina, Playing With Cards” BeouxAns Li Etching, 20%13 em, 3150, 2015 thigery wesel@iekynet.be “Destroy Silkscreen, 117, 2016 Brazil AdrianeCastro 23 October 1988 (Graduated Artin UFBA, Brazil Main Urban Pont UFBA, Brazil Doctorate in Urban Print PY, spain adriana deedeed) gmail com “Cycle "The Diary of A.Child'-The Golden Fest Etching-Aquatint, 20218 cm, 3/40, 2015, (THREE BEST WORKS) Bulgaria Ivan Ninow 19 August 1948 11960- Graduated Art school in Sofa Ivan_ninov@abw.bg “Light ln The Dark” Drypaint, 20420 em, 28, 2018 “Cadillac 84° Aquatintedquatorte, 16x14 Pick Up Ford 148" [Drypoint-Aquatint in Non Toxic Technique, 10x18 em, 4010, 2015 Bulgaria Dime Kelibaraw 27 February 1952 (1990-1898) National Academy of Ants, Sofia, Bulgaria kolbarovdimoghotmail. com “Cycle "The Diary of A Chi Konstantin and Animals" Etching-Aquatint, 20x16-cm, 3140, 2015 “Cycle The Diary of A Chig-The Winner Etching-Aquatint, 20x16 cm. 3640, 2015 Bulgaria Stanislav Bajankov-Stanko 2October 1966 MFA(1996) Printmaking, Aeademy of Fine Arts Cracow, Poland sbojankov@gmail.com “Bostiaria-” Intagbo-Block Print on Penta Handmade paper 12x18.cm, Intagio-Block Print on Handmade - 15x14 om, EVA, 2015 10 Canada Deborah Chapman 9 September 1851 BA(1990) Plastic Arts, Université cuQuébeca Montréal (QAM). ‘dluluchapmangjhotmail.com “Murrmure Mezzotint, 12x15-cm, 4/17, 2016 (THREE BEST WORKS) “Dislogue de Mestant” Mezzotint, 17 5x12 cm, 2/13, 2016 “Le Chant Du Silence” Mazzotint, 14,518 om. 17/19, 2016 15 July 1950 BFA (1973) University of Calgary Canada : 1978 Royal Canadian Acadomy of Art Valerie Syposz oa bbesantdtelus nat 21 Nowember 1964 Hasta BFA (2008) Concordia Wood Engraving-Ch “Touch #8" University, Major in Painting Colle, Gx cm, 5° Vinyl Engraving, 12x12em, 91252015 and Drawing MFA 2016 (2013) Tokyo University of toe fis, Major in. Printmaking valeries yposzighotmail.com = ‘rip Wood Engraving hina Colle, 6x6 cn, 740, 2016 Wood Engr ina Calle, 77.5 ‘om, 10/17, 2016 e Croatia Edvin Dragieevic 15 July 1968 (1997) Graduated at Art Studies on University of Spit, Croatia edvingumas fie “ilusion of Saety No. $5" Elching, 10x10 em, 825, Finland Kirsi Kuusisto 1965 Master afArt kirsikuug@hotmail.com “ilusion of Safety No. 43° Etching, 10x10 cm, 8/28, 2015 Power’ Lithography-Reliet Etching, 14,5414,5cm, 4, 2016 1 French Nicolas Poignon France 26 June 1963 ENSAV La Cambre Brussels, Belgium (1989) Diploma Printmaking and Painting ‘n.paignan®t-oniine.de “city Linocut, 1%20¢m, 1/25, 2014 __ Germany 10 March 1987 MA (2015) Fine Arts and Aestethic Education, j University of Regensburg, Germany info christinakirchinger.com “sPQ° Etching-Aquatint Drypoint, 2014 India Ishu Jindal 24 September 1993 BFA Dept of Fine Aris, Kurukshetra University, Ind Jindal conn Hungary Pal Csaba 6 May 1967 * (1993) Postgracuate Academy af “Minigeint-* Fine Arts Budapnst Eiching-Aquatint, ‘ssabapalkaggmail.com 11,410 om, 4/20, “Part and The Whole 01° z Drypaint, 10x10 om, 2/5, 2015 india Rakesh Bani ~ “Miniprint At SJanuary 1975 Etching Aquatint, 9,5%9,5 em, 4/20, 2016 MFA, (2000) Printmaking, Indira Kala Sangeet University, Kairagarih (CG) india PHD (2013) inca Kala Sangast University Kalragarth(CG) india rakeshbani@agmall.cam India ayant Naskar A October 1978 BFA in Printmaking at Rabindes Bharati University Kolkata, India MFA in Printmaking at isha Bharali Universiti, Santiniketan, Indi Jayantapeintmaker@gmail.com “Comp: Etching-Aquatint, x11 om, 4720, 2015 “innerEye Il" Etching 8 Intaglo, 16,5x16,5, om,4110, 2016 “Comp Etching-Aquatint, 11x12,5 em, 4/20, 2015) Indonesia Indonesia Alfin Agnuba “Adi Sundoro 19duty 1990 1G January 1992 Indonesia Institute of Arts, | Visual Art Education, Jakarta’ Yogyakarta ate University: Jakarta ‘Alvindagnuibat9@gmail.com adigundorosa@genal cory i Dinner” FAAAFEIFS™ Etching-Aquatint, 18310 em, Kitchen Litho, 14,5x19 om, 315.2018 1320, 2015 12 Indonesia Ahmad Oka Prasetyaji 15 September 1883 Indonesia Insttute of Arts, Yogyakarta ‘ahmad83oke@gmail.cam “Make: Your Own Lick” Relief Etching, 216, 2018 “Kambing Hitar’ Indonesia Antonia Kusuma Maria 18 September 1993 Graphic Design, Indonesia Institute of Arts, Yooyakarta kimski.kecil@ gmail.com “Astaga En-En Meteng” Relief Etching, 5/23, 2016 Deypoint, 19,5x19.5 cm, 2/7, 2016 Indonesia Indonesia AndiOkta F Ahyar Ramadhan 19 October 1986 28 February 1994 Indonesia Institute ot Aris, Yogyakarta ae Indonesia Institute af Arts, Yogyakarta ahyarramadhan@gmail.com “Advanture Habilis'sLife #2; Adored” 6 Colors Silkscreen, 20x20 cm, 1/5, 2016 “waiting” Woodteut, 20x20 om, 67, 2016 Indonesia Bhakti Tanza Lutfi Indonesia 13 September 1995 ‘Angga Sukma Permana 29 November 1985 BA (2011) Indonesia Insbtute of Visual Art Education, Jakarta State University, Jakarta Ans, Yogyakarta bhaktitanza13d@gmail, com MA (2014) Indonesia Institute of Ans, Yogyakarta “Kolehtificentitas® ‘Angga_sukmapermanag@yahoa, Silkscreen, 17x17 em, 4/5, com 2016 “Semangat perjuangan Woodeut, 20x16,5 em, 3/50, emt Indonesia Dhanny Sanjaya 18 June 1985 Visual Design, Pelita Harapan Universit iemdanatg@gmall.com Jakarta “Talk WithHeart™ Linocut, 15x20¢m, 15, 2016 13 Indonesia *Amoaba Chair” Drypoint, 15,5x11 cm, 2/8. 2016 “Kaur Buruh Sedunia Bersatulah! (Job Hunter ‘reedom Unite® Relief Etching. 18x13 om, 1/8, 2018 Indonesia Giri Dwinanito 14 January 1994 Jakarta institute ofAnts, Jakarta ‘iri. dwit4gmail com’ Indonesia Hardiman 7 May 1987 UPI Bandung hardiman_sr/@yanoo.com “Angin Yang Bersiul Di Tingkap” Etching, 12,5%19 em, 14, 2016 Fernando Simorangkir 23.June 1990 92009-2015) Jakarta Institute of Arts, Jakarta [| fernandusimaranghie23.dagmail com Egga Jaya Prasetya “Nautica” 3 May 1934 Siksereen, 15415 mi, Printmaking Dept, Bandung US, 2016. Institute of Technology, Bandung agajayaprasetyatgiyahoo.com “Engine” Silkscreen, 15x15 cm, 1/3, 2016 Indonesia GeugeutPangestu Sukandawinants 2 November 1992 (2010-2018) Printmaking Dept, Bandung Institute of Technology, Bandung geugeuipangeestudrocketmall.com *Sepilihan Tulisan Gunawan Muhammad” Relief Etching, 20410 em, 213, 2018 “Berpixir Membust Sesuatu Intaglio, 14x14 om, 5, 2016 “tnsting® Intaglio, 14,5x8,8 em, 5/10, 2016 Indonesia Immartyas Ghinaa Renata Azizah “naenaaie ae tlhert Indira Natalia Printmaking Dept Bandung Institute of 16 December 1991 Jakarta Institute of Arts, Technology, Bandung Jakana a indica_natalle@yyehoo.co.uk “Stasiun Andi Drypeint, 15.520. cm, | “Menunggu Mace teow ee Stkscree:Woodevt, 104155 : cin, 2016 414 Indonesia Kusno Drajat Jiwandono. 6 dune 1982 inkglospace@yahoo.ca.id “Skill, Love, Passion” Woodeut, 20218,5 om, 8/8, 2018 Indonesia Prayitno: 3 August 1980 Visual Art Indonesia Institute of Arts. Yogyakarta mayeknofgmail.com “Blomekanik” Woodcut, 20%20 cm, 28, 2018 Indonesia Prihatmoke Moki 30.June 1982 tmaking Dept P \ Indonesia Institute of Arts, Yoyakarta prihatmokomokigamall som Indonesia M. Mublis Lugis May 1987 BA (2011) VisuBl Art, Makassar State University, Makassar MA (2014) Visual Art, Indonesia Insttute of Ans, Yogyakarta muhlishagis@yahoo.com “Berboncengen” Woodeut, 1814,5em, 1/10, Z ‘The Palmtraa" Silkscreen, 1712.5 cm, 515, 2016 Indonesia M. Panes Satis 10 December 1990 (2009-2014) Jakarta Institute of Aris, Jakarta phepunchgagmaileom “CGnomist Engineering® Drypoint, 1116 cm, 5/8, 2016 “Nan With The Workers" Etching, 18415 6m, 5/8, 2016 Indonesia Reno Megy Setiawan 19 Febmuary 1984 BA, Printmaking Dept, Indonesia Institute of Arts, Yogyakarta bartelsi_reno@yahoo.co.id “Invasi-Made In China Series" Deypoint, 15x10 ems, 2720, 2016 Indonesi Rizal eka Pramana 30 June 1982 BA, Printmaking Dept, indonesta Institute of Arts, Yogyakarta cepramanag geal com “Disfigure™ Linocut, 20016 om, 978, 2015 15 Indonesia Rizky Dhifan April 1996 Printmaking Dept, Bandung Institute of Technology, Bandung Fizkidhifani@igmadl.com “Home Cussiliris* Drypaint, 14x20 om, 2/2, 2016 Indonesia Rudi Hermawan 2 June 1983, BA Printmaking Dept, indonesia Institute af Ars, ‘Yogyakarta ruditampung.amail.com “Do it Your Seif #11" Silkscreen, 15x20 cm, 3/8, 2016 Indonesia Wanyu Widyantono 18 pil 1973 BA Jakarta inate of Ars, Jakarta inawtiyu cieart@xgmail. com *Kramotak” ‘Waterbase Screen Print, 20x20 cm, 212, 2018 aly Barbara Babiscia Panini 27 June 1977 Graduated fram School of Fine Arts, Bologna babisciaggmail com Indonesia Tito Trymet 20 May 1968 Postgraduate Indonesia Institute of Arts, Yogyakarta tito.tryameigegmail.co. m “Dalam Pelukon* Deypaint, 2020 cm, 15, Drypoint, 20%20 om. 115, 2016 Joe Ryan 9 duly 1958 jooryanartistq@grmail.com BA (2003) Fino Art Midllosex University London IMA (2005) Fine Art, University of Est London Doctorate (2016) in Fine Art, University of east London, Yunaato, 11 June 1988 STD VISI Yogyakarta sebarkanide@grnail,com “Marwaligm” Drypoint-Silkscreen, 17.5x17.6 om, 216, 2016 "De Bord" trary Paolo Clampini 4 Apa 1941 MA (1962) The Art institute of Cascina. aly Postgraduate in Fine Avie, The Academy of Fine Arts of Florence. “Nature beyond Man” Etching, 18,817 “The Woman’ ‘em, 1330, 2014 Etching, 8,5x7 om, 1/90, 2014 . (THREE BEST WORKS) “Rosella” Etching, ttt ‘em, 1130, 2015 16 Italy Silvana Martignoni 3May 1954 BreraAcademy of Fine Arts, Min silvanamartignoniggmail. com aly Sandro Bracchitta 24 Saplember 1966 Academy of Fine Arts, Florence sandrobracchitta @iviegito it “infinity Vortex” Mezzatint on Copper Piste, “Tet7 ee, 3630, 2016 (EXELENCE WORK) ‘A Natural Music” Mezzatint on Copper Piate, ‘15x15.cm, 6/80, 2018 “Dress and Bow!” Drypoint-Carborundum-Spi Bite ‘Acuatint, 20814,5 0m, PA WS, Jagan ane iiroakiSano December 1972 MFA (1998), Print making . Tama Art University, Tok, Japan apr * Higemrs Monima 3.duly 1984 “Pulsating Flutter -2" BFA (2008), Musashino Art ‘Weoodout, 20x18 om, 3130, 2016 University, Tokyo, Japan MFA.(2010), Musashino Pubsating Flutter 1° ‘Ari University, Tokyo, Woadeut, 20x16 cm, 3130, 2016 Japan Japan Yumemi Kebayashi 26 April 1964 BA (2003—2007) Musashino Art University. Tokyo, Japan Ma (2013—2014) Utrecht graduate: schoo! of the arts and design. Utrecht, The Netherlands . ymm_k426@yahoo.co j “Study OF Ancient Masta - Poltery Kernos 2300-2000 BC” Hyton Terracotta 1400-1300 BC" con ‘Sudy Of Ancient Masterpices-A man Stdy OF Anciant Masterpicas. Riging A Goose, Cd-800 BC" ne etching 3/10 Etching, 3/10 Malaysia Mohammed Iqbal Badaruddin 48 March 1985, = Mi (2010), Fine Art & Technology UiTM Malaysia = BA (2008), Majoring in Sculpture UTM Malaysia (Shah Alar} - Diploma (2006) UiTM Malaysia (Kelantan) m_ighal850@ yahoo.com alam" Stencil-Gel Print, 20x11 em, 3/7, 2018 Montenegro Jolona Jovancay 42 July 1982, MA (2010), Printmaking, Faculty of Fine Arts, Cetinje, University of Montenegre BA (2007), Printmaking, Faculty of Fine Arts, Cetinje, University of Montenegro Jevancoyjelana gmail.com “From The Cycle Reflexion” Mezzotint, 1618 em, 217, 2016 Malaysia Mohd Fawazie bin Arshad 4 September 1985 Master in Visual Art & Design fawazie@2gmall.com “Geruk The Series Peru Manuel Lau 6 October 1967 (1997-98) Capilano College's ART Mexica Silvia Gaona Morea 17 March 1978 National Autonomous University of Mexico National School of Piastic Arts Master Degree in Visual Art labbetuladusteag@otmail.com “Hybeid Hominem" Poland ‘Atoxandira Maria Bury 30 October 1988 (2013) PRO studies on University ff Silesia in Katowice, Poland (2008-2012) University of Silesia fn Katowice, Poland INSTITUTE, Narth Vancouver, BC, Shifey fury aleksandiagegmall.cam Easicatl Memarial Schalarship for Printmaking “Bye Moze Morze’ (1890-81) Escuela Nacional Aulénama d@ pguatint-Eteaing, 8x14,5 cm, Bellas Artes, Lima, Peru, Printmaking 41/20, 2014 manuelauighotmail com “Guanlan Suite: Mexicali #1" Stonis cut, 20%20 cm, 4/10 Poland i etm. Anna Sep 1.duly 1988 Poland (2008 - 2013) Master Deg ‘ Faculty of Graphic rts and Painting, (2014 ~ 2008) College of Visual Arts in Rzeszow ssullome @gmail.com "Quiet" Serigranhy, 48,2014 18 Katarzyna Glelecka Greemsks 27 February 1986 PhD student of Silesian University Institute of Artin Ciaszyn (2010) Graduated trom heademy of Fine NS in Katowice, Poland kasia, gielecka gmail.com “Wisdom Algraphy, 20x17

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