aqui, aqui

// regarding the current times some of the promoted submission deadlines may be postponed
// some curators may take more time than usual to give you heads notice on received artwork as they may be putting it under quarantine

XX.04.2021 > XX.04.2021 | EXHIBITION

"COPY / PASTE" / Fórum de Arte e Cultura de Espinho
XX.04.2021 > XX.04.2021 | EXHIBITION
XX.04.2021 > XX.04.2021 | EXHIBITION
XX.04.2021 > XX.04.2021 | EXHIBITION
XX.04.2021 > XX.04.2021 | EXHIBITION
XX.04.2021 > XX.04.2021 | EXHIBITION
XX.04.2021 > XX.04.2021 | EXHIBITION
XX.04.2021 > XX.04.2021 | EXHIBITION
printing and reproduction techniques within mailart


Printing techniques were never far apart from the art world as some might think. Woodcut, typography, silkscreen, lithograph, stencil, rubber stamps, 3D printing, digital printing, ... are a short list of various means of reproduction within our reach that are also explored for their artistic expression. Although some of these media may have arisen purely for the sake of reproduction and others with marketing intentions ... others had arise with a purely artistic vision. However, none of these techniques, sooner or later, scaped artists who use them for creating multiples or for their material expressiveness.

It is therefore with this call and with this question in mind that we invite you to question multiples in artistic creation and printing techniques as expression, either through artworks or written statements.

On our previous curated mailart and artbymail open call and exhibition entitled "Hate Mail? for ya Fat F#uck", we've dealt with similar content as we've shown Claudio Parentela's artwork in the form of digital prints of his own digital collages... in a way rasing the question: if physical prints of artwork meant to prevail only among the digital world may or not be considered art? We've also laid out a consonant scheme while presenting rough quality prints from scans of Rachelline Centomo's personal international mailart open call "La Muerte / Mientras la Vida nos Dure" that had happened at Mexico the previous year.


ART DIRECTOR AND CURATOR Monsenhor enVide neFelibata
CO-PRODUCTION Teatro e Marionetas de Mandrágora & Escola da Marioneta
EDUCATIONAL SERVICE Serviço Educativo da Divisão de Cultura e Museologia da CME
PRODUCTION SUPPORT Clara Ribeiro & Filipa Mesquita
SUPPORT Município de Espinho & Biblioteca Municipal José Marmelo Silva
FINANCIAL SUPPORT Direção-Geral das Artes & Ministério da Cultura da República Portuguesa
THANKS Bella VF Gagarin, Dr.º Armando Bouçon, Dr.ª Andrea Magalhães, Rita Betânia, Sandra Vieira


main album 28.5 Mb
exported pdf EN 4.2 Mb
exported pdf PT 4.2 Mb