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Contemporary printmaking – New techniques and methods comes after the previous exhibition entitled Traditional Printmaking Techniques. The exhibition will last until May 25 2022.

It will include works by artists from Greece, Italy, Czech Republic, the United Kingdom, France, New Zealand, Mexico, Japan, Germany and Cyprus.

Some important works in the exhibition have been donated by the Athens Printmaking Centre and from the private lithography collection of Stratis Gounaris.

The curator, Hélène Reeb, writes about the exhibitions:

Contemporary printmaking – new techniques and methods

In addition to traditional printmaking techniques (woodcut & linocut, etching and lithography,) contemporary printmakers are exploring new techniques and methods, including the most well-known, such as screen printing and digital printmaking. These techniques and methods are the result of the advancement of technology and the experimentations of printmakers.

The abundance of technical challenges, in combination with the artists’ personal reflections and the “crushing” of established frameworks and aesthetic movements in Art, makes it increasingly difficult to classify the prints according to their technique. The boundary between printmaking and printed image becomes blurred, as well as that between work of art and industrial product. Above all, the most important elements are authenticity, originality, quality and the active presence of the artist in every phase of the creation of the work.

This exhibition embraces the vast field of contemporary printmaking and showcases about forty works that represent general and accessible trends of contemporary printmaking, without focusing on the thematic unity of the work. The prints were selected based on four elements: their technique (traditional techniques with new methods or new techniques, mixed media), the authenticity of the prints, the accessibility of the works to a non-specialized spectator and the variety of content.

The enjoyment, emotion and reflection that each work can offer to the spectator does not cease to exceed the viewer’s questions, so that in each section one can rest in front of at least one print made with a simple, well-known technique. As ever, the most important goal is the dialogue between the artwork and the viewer.