Bolaget Vardagsbilder|Sweden
Saima university of applied sciencese, Fine Arts, Imatra|Finland
Fyns Grafiske Værksted|Danmark
Grafikwerkstatt Dresden|Germany
Steindruckerei Ernst & Erika Hanke|Switzerland
Lithographic studio in Mölndal|Sweden
Academy of Fine Arts Wroclaw|Poland
Künstlerhaus München|Germany
Tidaholms Konstgrafiska Verkstad|Sweden
Göteborg Scool of Fine Art|Sweden
Europäische Lithotage München|Germany
Litografiska Akademin Tidaholm|Sweden
Alte Feuerwache Loschwitz|Germany
Vilnius graphic art centre|Lithuania
Kulturverein Riesa efau|Germany
Bildverkstan i Mölndal|Sweden
Handpappersbruket|Sweden
Valand Academie of Fine Arts, Göteborg University|Sweden

The main idea behind the network
Private and collective printmaking centres exist all over the Nordic countries and Europe; centres, whichpossess, renew and develop great knowledge within thevarious printmaking processes.
A solid foundation for a Nordic/European Network thus exists, a foundation, which is able to meet the explicit need for an exchange of both artistic and technical/craft practice knowledge, within the field.
The aim is to consolidate the area by improving access to traditional knowledge and based on that access, research and develop modern technology and printmaking applications for contemporary professional artists and art students of advanced level.
It is about improving production terms and conditions for artists, who use traditional and new technologies within printmaking.
We continue to search for further centres/nodes in orderto discuss and test forms for the Network’s interface; from the Internet to residencies. We see the meeting in Mölndal, in September 2009, as a test run for how the Network can work with residency programmes, in the future. Since it is the practicable aspects of the initiative the Network predominantly seeks to concentrate on, it is the residency opportunities in themselves, which are of great importance.

In what way is the main idea of the network new?
Structural transformation in the community occurs continually. Conditions for development, pedagogy and research change within all disciplines. More than ever before, the grounds for developing a more heterodox attitude towards knowledge and education within the Fine Arts are now being felt. The linear view of the arts we have learnt to appreciate through history and theory is no longer representative, if it indeed ever has been. Constructive perception as to the various pathways to knowledge and education within the Fine Arts requires numerous and varying approaches. This means, on both an artistic and knowledge based level, addressing the terms and conditions in Fine Art production and education, a not entirely unimportant contribution in expanding the somewhat narrow and institutional concept of Fine Art, today, in order to reveal its heterodox multitude.

ENDEGRA (European network for development and education in printmaking)

European Network for Development and Education in Graphic Art