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the printmaking today challenges, dialogues and mediation strategies probably everyone has already made a printmaking. who has not left his footprints on the wet sand of a beach, played with stamps or scratched a crayon on a sheet with a coin below? or even drew with graphite the texture of a leaf to the paper? or even printed a digital photo of his baby son? these and several other examples that can be performed by any person everyday (except maybe in the last), helps to demonstrate how the printmaking is present in our daily lives, even without perception that we are producing it or using it. it can be a conventional printmaking, in which we only transfer the texture of a surface to the paper, or a digital one in which we print a photographic picture to the paper, in both situations; we can say that we are making prints. printing, seems to be something easy and a commonplace as making an impression requires gestures so simple and so basic materials such as clay, the hand, pigments, moulds, cuts, corrosions, and so on. the word print covers so many practices and results that we can discover many printing processes in ancient times, such as the prehistoric engravings, the dinosaurs that left impressions in clay or just any fossil. in fact, engraving is not restricted to think on paper, press, matrix, but we should have a wider thought, for example, think of a contact that leads to the possibility of another way, a gesture that responds to another and this answer modifies and opens up, as if it were a thought, thinking engraving, as thinking drawing. the thought cannot be described as thinking of engraving, but as engraving of thought, having the same plasticity, fluency and consistency of the movements in the engraving process. as you can see, the complexity of the engraving processes, on printing items, contact, matrix, material, picture, are not only of retinal, technical, material or of materializing order, it leaves us in suspense about any rushed conclusion on this matter, by giving preference to a superficial look on what the print raises, going no deeper and understanding the physical and timeless horizons in its scope. the wing of a dragonfly can be the fossilization most distant in time, but can also be connected with an overlay of contemporary features. an image can be exposed in a contradictory time in the same surface. the different levels of our thoughts are also overlapping, as in the idea of anachronism that we work in the print sheets. looking at art as a thought engraving or as an engraving-thought and not wants to guide it to a purpose is an attempt to understand it through its plans. the print consists of several experiences: passages, stratums, artist proofs, unique pieces, color proofs, transfers, thoughts, feelings, impregnations, excavation, cracks, absences, shapes, cut-outs, distances, subtle, intense, overwhelming, velvety, sharp and a great multitude of many other contacts. the experience in printing becomes an experience, which creates an experience of tactile sensations and thoughts. what happens between the space of a surface and the matrix is a sort of entry of forces in the form of etching or engraving-thought. the perception of these forms produces new forces again. thus, there must be a way of coming up the forms, a film, a plan or a skin where the energy of the pictures movement can flow. all this complexity that the print (so simple in concept) causes expanded its action, becoming therefore an open work. it is in this way of thinking that new media can add and help to maintain the printing autonomy in the context of contemporary art. despite the disapproval of some and the consent of others, the constructive dialogue or its total absence, the art of printmaking does not stop and continues its fearless and serene ride, dragging all their sponsored institutions. in fact, if the relationship between printmaking and photography, has motivated anger and discontent of many, today, in the xxi century, the hybridism of printmaking with other media intensified and caused new seizures and frictions undoubtedly even greater than before. the result from this were new types of printmaking, designs coming from offset printing, the urban printing, the multimedia installations, the digital computer compositions and printed on ordinary printers, the use of programs and software such as photoshop or corel draw. by combining today with these new digital media, consequently resulting new visual experiences with renewed potential for printmaking. its matrix which was once made of metal, wood or stone, now acquires insubstantial characteristics of digital representation and the pixel of the image replaces the point, the line and the shadow printed by the physical action of the printer, or by alchemical means of acids and varnishes, integrating virtual images in computerized programs, leaving the paper, out of the process. the result of these media symbioses can take the form of installations, digital images, web art, among others. this new contemporary reality promoted in printmaking the passage of the graphic visual image, printed in paper to a virtual visual image that exists primarily on computer monitors. this transition to the virtual is a bit drastic, because it transits from the weight of the ink and paper’s atom to the weight of virtual images, i.e. to the virtual of bits and pixels, from the material to the energy and this is, in fact, a drastic change. the printmaking artist today, in a sense, is faced with the virtual that is presented as an apparently rectangular window (the computer screen), as a new version of the pictorial space, but that is not, since the processing elements, the handling of the plastic parts, the dimensions that are involved go far beyond the two dimensions of the white page of the paper and the individual using these new media is faced with truly unexpected situations. this “lightness” in creative expression, without material, gives to the experimentalist creation a registry key to its strong contemporary times, reminding automatically the spaces of the “empty” and approaching its operational in between, the concepts of “open work” umberto eco, or the paradigmatic concepts of the contemporary art theorized by rosalind krauss who tells us of that conquest of the art of the empty space and the lack of work. this new digital picture invades our everyday culture, expressing its avant-garde in museums and galleries of contemporary art, in the urban areas in the form of public art and in biennials and dedicated to it, being alive and in constant transformation, as it was always in its history. it shows up as “open work” again, not by closing its confrontations in itself and always allowing the artist or the spectator to innovate and to improve new possibilities in its dialectic. this operative revolution, in which the printmaking survives, conquering new spaces for contemporary issue, is contrary to those who annihilate it and call it, unfairly, as a minor art. maybe they do not realize its crucial contribution in the history of art and of mankind, so they see it just like that craft art at the service of the press, not understanding or knowing the steps it has taken toward its autonomy. it appears then that the world of printmaking has always highlighted the changing of the graphic printing process throughout the history of art, sometimes nearer the traditional prints, sometimes more distant and in deep rupture. as shown, by analyzing the most important print works and its evolution to the present day, it outlined a path towards a move that expands its boundaries, not in a subversive way, but consistent with its need of autonomy and livelihoods while living art. the big challenge for the printmaking, either traditional or hybrid, is therefore in keeping alive the historical conditions of its genesis, without renouncing to the changes dictated by the evolution of the history of art, self-valuing with these

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Domain Name: BIENALDOURO.COM
Registry Domain ID: 2039471720_DOMAIN_COM-VRSN
Registrar WHOIS Server: whois.enom.com
Registrar URL: www.enom.com
Updated Date: 2017-06-04T05:13:55.00Z
Creation Date: 2016-07-03T13:27:00.00Z
Registrar Registration Expiration Date: 2017-07-03T13:27:03.00Z
Registrar: ENOM, INC.
Registrar IANA ID: 48
Reseller: NAMECHEAP.COM
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Registrant Organization: WHOISGUARD, INC.
Registrant Street: P.O. BOX 0823-03411
Registrant City: PANAMA
Registrant State/Province: PANAMA
Registrant Postal Code: 00000
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Name Server: DNS1.NAMECHEAPHOSTING.COM
Name Server: DNS2.NAMECHEAPHOSTING.COM
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Version 6.3 4/3/2002

  REGISTRAR ENOM, INC.

  REFERRER http://www.enom.com

SERVERS

  SERVER com.whois-servers.net

  ARGS domain =bienaldouro.com

  PORT 43

  SERVER whois.enom.com

  ARGS bienaldouro.com

  PORT 43

  TYPE domain

DOMAIN

  NAME bienaldouro.com

NSERVER

  DNS1.NAMECHEAPHOSTING.COM 216.87.155.33

  DNS2.NAMECHEAPHOSTING.COM 216.87.152.33

  STATUS clientTransferProhibited https://www.icann.org/epp#clientTransferProhibited

  CHANGED 2017-03-09

  CREATED 2016-07-03

  EXPIRES 2017-07-03

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