ENDEGRA – European network
European Network for Development and Education in Graphic Art
ENDEGRA (European network for development and education in printmaking)
is a network between professional print shops and printmakers that started to grow 5 years ago and now has nodes in 18 European countries. It came about to meet a need to share advanced knowledge production within the field of printmaking. To clarify the value and the function of our labour and to bring about relevant acting spaces for development and education in printmaking.
Grafikwerkstatt Dresden hosts:
2012 Europäische Lithotage München/Germany
ENDEGRA-participants from …
Saima university of applied sciencese, Fine Arts, Imatra|Finland
Fyns Grafiske Værksted|Danmark
Steindruckerei Ernst & Erika Hanke|Switzerland
Lithographic studio in Mölndal|Sweden
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
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 09, 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. The relevant experience we possess within the practical tangible field of printmaking exists, to a great extent, implicitly within the role of Fine Art production itself, i.e. it does not have to be expressed explicitly, in order to be constructive.
However in an ever increasingly animated exchange of reflection, ideas, methods and processes etc. the media expression becomes articulated more and more, from within by the purveyor. This in itself strengthens the analysis of the terms and conditions of Fine Art production and furthermore reinforces the need for ad equate structures in order to ensure the development of knowledge content. 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.
The Nordic, Baltic, European and/or international relevance of the network It has always been easy for us to reach the Nordic
Countries when it comes to language and distance. As of recent times, the countries of the Baltic Sea have become a place where the studio Bolaget Vardagsbilder has gradually, over the years, generated contacts and drawn interesting parallels, between the similarities and differences in the history of craft practice, tool formats and also a mutual commitment to the development of printmaking.
Given that in each and every country, printmaking represents a relatively limited field within the Fine Arts, it is the combined ambition of a larger region, which can affect a whole other efficiency.