Go Block: A manifesto of unconventional printmaking from the context of printmakers in Malaysia
- senicetak malaysia
- 6 days ago
- 16 min read
by Dr. Ishak Ramli
Kolej Pengajian Seni Kreatif, UiTM Cawangan Perak
Go Block Vol. 7 is a continuation from a 'nerve war' directed to the public towards an artistic practice which needs to be competitive in order to spread a doctrine of understand that will spread wider or reach bigger crowds to ensure the Sustainability of Printmaking in the world full of potentials to fulfil the worldwide exploration objective.
1. Is another Go Block exhibition necessary?
What is the actual situation of printmaking art in Malaysia which has led to Go Block's multiple exhibitions being held since more than a decade ago? I would like to highlight these issues to the public:
Ware the last six (6) series of Go Block exhibitions insufficient? To me, this is not the matter of them being sufficient or not. In fact, what matters most was the issue of resilience among printmaking artists in Go Block to create a phenomenon for local visual art industry. Even though some have perceived printmaking art is benefitting from technicality and outcome from other disciplines, but this is called an expansion of understanding which is made limited by a term known as "convention" Go Block is offering an extension of meaning again to printmaking which is of viewed from the process - carving or cutting the surface of a block - roll off- set ink on the surface of the block - printing on paper - repeat until add editions are produced. By feeding the audience with non-conventional printmaking, more questions will arise among the audience with regard to understanding and exploring the printmaking itself. Hence, Go Block must continue to have exhibitions in the art industry to ensure the 'doctrine' which is related to an expansive discipline of printmaking could consistently reach the art society
Is printmaking still relevant in visual art today? The conflict in the struggle takes place when printmaking art is often considered as a secondary discipline which is not dominant and its technically difficult to be used in producing an artwork. Such difficulty also includes the issues of facilities which means printmaking art requires support to ensure its sustainability (just as Chetak 17 did). Other than the society's dogma on printmaking art that claims it being static and 'single ownership' issue - which is deemed as inexistent in conventional printmaking: printmaking needs to go forward (actively) to remain relevant. These changes which are happening closely resemble the issues which occurred in the sculpture discipline - which originates from the Latin word sculpture or 'sculptura' which means 'to sculp' or 'to shape with carving'. Changes in sculpture are now accepted in many forms and techniques, Thus, Go Block is working on making printmaking relevant with the changes of time.
Here, Go Block is willing to continuously attack the community's minds (artists or not) so that they continue to think of printmaking art in their heart and mind; and understand that printmaking has successfully expand its territory!
2. Go Block Ideology: Understand 'Their Soul' First!
Go Block artists understand that human nature loves to play, and this is the basis for their exhibitions which are full of surprises. Such natural trait is owned by humans who always want his activities to be playful and humans also play around with values that they understand this is also known as Homo Ludens.
Printmaking artists who have been bounded by conventional laws; rigid technicalities; strict rules; during the exhibition there are rules of framing and proofing that must be obeyed. This has caused the printmaking artist to be nicknamed as a 'pious believer' or 'ahli ibadah yang bertakwa who completely adheres to the rules and regulations of printmaking. Nevertheless, for careless or rebellious artists - their artwork will be criticized as 'this is not printmaking work". This does not include other punishments or sins (big or small) which would be imposed on or given to them.
Go Block has different ideology than other collective movements. As a well-organized platform which provides 'validity' to any new or different forms - to be categorized as printmaking artwork! Go Block is able to help printmaking art to 'play' with images, technicality, concept, idea and theme that need to be produced. This is the platform on which the artists unleash all the pressure of rules and static formation in printmaking and move to the production of printmaking artwork through 'wild desire' which 'does not make sense' about printmaking.
Because of that, Go Block artists have manifested the spirit of playing in the printmaking artwork. This time, (as an example which can be related to Go Block Vol. 7). Juhari Said in collaboration with Masnor had teased and tricked his artistic persona for all of us through his artwork entitled "Katak Tua Hendak Jadi Lembul. The homo ludens character from its descendants had been shown through political issues which were expressed through idioms. True! "Katak Hendak Jadi Lembu is a proverb. But in 'visual art'. when we say 'Katak Hendak Jadi Lembu... who do we have in mind? Which art discipline is related to this? Juhari Said had played with an iconic 'symbol and surely the public will remember 'Katak Hendak Jadi Lembu with Juhari Said as well as the printmaking discipline. Juhari was cheeky and the form of his printmaking artwork provided something to tease the public's understanding! Making use of to the printmaking 'language' is 'transfer', so, Juhari Said has transferred the understanding of "textual proverb to two-dimensional visual printmaking "Katak Hendak Jadi Lembu', and now, Juhari has transferred his two-dimensional visual printmaking' to 'three dimensional visual which is sculptural work. If we look at 'Katak Tua Hendak Jadi Lembu' as print; it represented his arrangement of his print collage. Juhari is playing with an iconic artwork with printmaking art even though this time he does not produce a complete printmaking artwork. Perhaps at the same time, Juhari is being playful with us so that we have to enhance the way we think about printmaking. This is not the issue of definition and concept of printmaking in tangible discussion, on the other hand, it has touched the intangible discussion.
Therefore, by understanding the meaning of dualism in printmaking from the aspect of conventional and non-conventional, we will be able to understand Go Block has become significant to them. It is not that they are not passionate about the conventional printmaking (they are the real figures and practitioners in conventional printmaking), but they desire to bring development into this discipline.
3. A Struggle!
If we 'accuse' Go Block as a new movement which is trying to make some changes, uphold and develop the printmaking art discipline surely this is an inaccurate claim! Go Block has been working on it all this while! Since 2009, as a result from sustaining the printmaking discipline through teary discussions among Juhari Said and Badrulhisham Tahir (Petronas Gallery Curator at that time), the word 'Go Block' had been chosen to become an important "nomenclator" the nation's history of printmaking..
Go Block has offered us six (6) series of meaningful, significant exhibition (now it is the seventh); delivered by a line of artists who are chosen to convey the mature agenda of "the politics of rejuvenation" as well as bring extraordinary intellectual values towards the discipline of printmaking! Go Block exhibitions which were held previously were Go Block: 5 Contemporary Malaysian Printmakers, at Galeri Petronas, KLCC (2009); Go Block, at Penang town (2010); Go Block: Potilombus Wayahinik Pinogumu (The Expanded Contemporary Printmaking), at Galeri G13, Kelana Jaya (2018), Wabak Go Block: The Expanded Contemporary Printmaking, at Galeri G13. Kelana Jaya (2020), Go Block Vol 5: Contemporary Expanded Printmaking Residency Projectat Galeri G13. Kelana Jaya (2022) and Go Block: Senibuku, at Galeri Cult, Kuala Lumpur (2023).
This effort is a continuation from the artist's way of thinking. which desires changes in upholding the printmaking discipline. Through other exhibitions, before and after Go Block was formed, they became the main link to a set of thinking to produce 'non-conventional printmaking in Malaysia. One of them was an exhibition named 'Okir' at Wei-Ling Gallery, Kuala Lumpur in 2007 and 'Samudra'exhibition at Muzium and Galeri Tuanku Fauziah, USM (a continuation from 'Okir' while being the Artist-in-Residence di USM -Samudra exhibition took place after Go Block was held at Petronas Gallery) in 2009 by Juhari Said; and Alternative Printmaking exhibition at Petronas Gallery in 1995 which was organized by its visiting curator, Ponirin Amin. Going back to the early history of printmaking in Malaysia, this pattern of thoughts had been highlighted through an artwork 'Alibi Catur di Pulau Bidong by Ponirin Amin which won the Main Prize, "Bakat Muda Sezaman" in 1980
If we reflect on foreign art history, Andy Warhol was the artist who challenged our understanding of visual culture "in printmaking-through his artwork Campbell's Soup Cans (1962) and Marilyn Diptych (1962) (just to name a few). He upheld the pop art culture through various techniques including the serigraphy printing, he was not concerned about the convention which was repeatedly mentioned in the discourse of printmaking (matters like proofing, edition, framing, and others). Andy Warhol brought an attempt to use technical adoption to convey a story and meaning in his artwork, and he had ignored the principle, concept, and convention of printmaking art. What was the actual struggle that Andy Warhol went through in relation to printmaking discipline? Did he uphold the issue' and 'images' of pop art culture that was to celebrate popular images? or did he really introduce / focus on / celebrate printmaking? We clearly understand that Andy Warhol was actually celebrating popular image!.. Amazingly, he has used medium and technicality in serigraphy printmaking. Upon closer inspection, the function of printmaking to Andy Warhol was to be used as a medium to convey message fast and successfully to the audience. Yes, Andy Warhol ignored rigid procedures and portrayed his artwork without any remorse -he had shown his effort to widen the potential of printmaking which was bogged down by various rules and regulations.
4. Go Block: An Idea!
"Go Block artists' idea is to expand various unconventional technical and tangible exploration; by sustaining the existing 'language' which is related to the principles, concept, and spirit in printmaking art itself."
I would like to emphasize that the variation in practices and shifts in the thinking paradigm in Malaysian printmaking has been nurtured and flourished in the artists. Nevertheless, struggling 'alone' or working in silos has caused the ideas to expand the potential for artwork to become lagged behind. On the other hand, this movement has been growing exponentially abroad through the aspect of art practice and academic discussions.
Studio discussions and practices in universities have long contributed to the 'conventional way of thinking and the 'unconventional' in printmaking. However, they become lackluster since the discourse has not been getting a lot of attention in the industrial practice (in UiTM and most other institutions which provide Printmaking courses - the practice is conventional printmaking for the diploma level or Diploma in Fine Art; and the unconventional printmaking is introduced at the bachelor study level or Bachelor in Fine Art). Go Block has developed in line with the art industry, and the 'conventional printmaking continues to be celebrated - it's challenges are represented through 'Chetak 17' (also formerly known as Chetak 12), and passion had pushed the boundary or there were efforts to expand the 'conventional concept' through the 'Go Block' movement which functions as the 'nerve war' that was related to matters pertaining to unconventional printmaking practice.
Based on the interview sessions with Juhari Said (founder of Go Block ideas), he was more interested in discussing the principle, concept, and spirit in printmaking from the perspective of traditional, modern, and contemporary timelines. By looking at traditional practices of reapplying or 'terap ulang' which is observed among cake (kuih) makers, people who produce handicrafts, and many others; Juhari Said believed that the principle and concept of printmaking art has always thrived among the local community. Juhari completely understands the modern printmaking framework which becomes the basis of Go Block way of thinking, the basis for his trust on the concept of 'terap ulang' through traditional timeline, conventional printmaking art through modern timeline, and the value of exploration through contemporary or unconventional timeline; this goes beyond the conventional principle but maintaining the 'language' of printmaking itself.
Today, Go Block is not only known as a platform for 'group exhibition', but it has also become an institution' which plans to develop and enhance the printmaking discipline which has often been regarded as rigid:
1. Uphold the traditional printmaking - matters related to local community activity and culture which are related to the concept of 'terap ulang'.
2. Continue to encourage 'conventional printmaking art activities through workshops, talks, and exhibitions.
3. From 'conventional printmaking to 'unconventional printmaking which is explorative in nature (also known as expanded printroaking, extended printmaking, or alternative printmaking).
5. Go Block Artists Understand and Appreciate the Ideas of Conventional Printmaking
Understanding the ideas of printmaking discipline is one of the basic foundation in becoming a printmaking artist. It is crucial to assist the artist to explore and experiment new potentials in producing artwork for exhibition since they would carry added values to be discussed by the public.
To understand printmaking art, Michel Melot has provided its definition as "...the term 'print' conveys the idea of impressing a design or image, of transferring it from one surface to another...". Based on the explanation of the term 'print', I would humbly link it to four (4) main categories namely:
Four (4) significant categories have become the foundation to printmaking artists in the area of "conventional printmaking for the purpose of exploration activities whether the printmaking approach is 'expanded' or/and 'extended' or/and 'alternative', or I would prefer to use the term unconventional. Explanation of categories through the definitions are:
1. Image or Design
Design or image or idea that is produced by the artist for the purpose of producing printmaking artwork.
2. Block or Matrix
Block or also known as matrix is the phase of storing information of design, image or idea which becomes the form or concept to the transfer process to produce printmaking artwork or its by product. There is also the concept of 'mirror image' in producing the printmaking block or matrix.
3 Language of Printmaking
Printmaking language in the production of artwork is the process and concept of "transferring' or 'transfer' or 'maintaining the form'.
4. By Product
The product of printing or the process of 'transferring' made. In printmaking, the printing product or by product is an important matter to produce the formation of block or matrix.
By understanding the definition of printmaking, a new league of exploration can be formed. In addition, the numerous ways of producing printmaking artwork are internalized by the Go Block artists in each stage of the basic process of conventional printmaking to the production of the artwork. Such understanding must become the belief behind the artist's expansion of ideas to form something new:
The basic process in Figure 1 is part of the normal practice carried out by the conventional printmaking artists. It is a process of a full cycle of printmaking artwork that is produced (except bookmaking this depends on the artist's choices). This is the process which has been deemed as rigid and static in the practice of conventional printmaking - it leads to a dogma that the conventional printmaking cannot stray from the matters explained here. If the artist does not conform to this convention, they are considered as not producing any printmaking material. Based on the discussion with Go Block artists, it is apparent that such is the way they think about printmaking.
6. Go Block artists' intelligent approach in Exploring Conventional Printmaking Art: A Memorandum to Expand Meaning Towards Unconventional Practice of Printmaking Art
There are many efforts in highlighting the potentials of conventional printmaking art that has been given an expansion in meaning. Go Block artist explorations had already focused only on a certain stage of the production in the previous series of exhibitions, Block or matrix and the printmaking by products which were outside of the conventional printing discipline were produced and exhibited at Go Block exhibitions were:
1. Casting technique as block in producing the printmaking art
by Juhari Said, Shahrul Jamili Miskon, Kim Ng, Faizal Suhif.
2. Printmaking Installation by Zulkifli Yusof
3. Time as the block concept in the printmaking artwork by
Shahrul Jamili Miskon.
4. Folding technique as block and origami' as by product in the
artwork of Faizal Suhif.
5. Fingerprints as block in the printmaking artwork of Shahrul
Jamili Miskon.
6. Loop and repeat video as block and its principle of
repetition in the artwork of Samsudin Wahab.
7. Steel plate which was etched with acid as a by product of
Sharul Jamili Miskon..
8. Book art as the by product of printmaking artwork by Go
Block artists Vol 6.
9. MRI image / film as the by product of printmaking artwork
by Shahrul Jamili Miskon.
10. Paper pulp as the by product to the printmaking artwork
of Awang Damit Ahmad.
11. And many others (not limited to the examples shared
here).
The exploration to expand meaning in the series of Go Block exhibitions is like a 'visual memorandum' for its potential changes. This 'Memorandum' means that 'memo, atau dokumen bertulis yang digunakan untuk berkomunikasi di dalam sebuah organisasi atau antara individu dalam konteks professional dan kebiasaannya digunakan untuk tujuan yang rasmi dan berbentuk ringkas (memo or written document which is used to communicate in an organisation or among individuals in the professional context and it is usually used for official purposes and contains brief messages). In Go Block, its artists had professionally delivered a 'visual memorandum' to the public and challenges the way they think through the philosophy, concept and meaning to continuously expand the discourse in printmaking.
7. An Unconventional Printmaking Manifesto by Go Block Artists
To understand the concept of 'manifesto', printmaking cannot avoid from the need to own it. The objective behind the production of this manifesto is to determine the actual function of 'unconventional printmaking as introduced by Go Block for some time can be clearly focused on and understood by many. Go Block Manifesto is a document. which comprises of a collection of printmaking artists' thoughts for 7 series of Go Block exhibitions since 2007.
Based on the exploration from the perspective of an intellectual discourse in each of the exhibition, it has become a responsibility to produce a printmaking art 'manifesto' which has been tested to the public and has also been formally or non-formally discussed by the academicians. Writing this manifesto is not considered as too early since this is not the first of the series of Go Block Exhibition; the exhibition is the seventh series (7). It is an exhibition which is systematically organized and brimming with continuous experimental as well explorational values.
Manifesto of Unconventional Printmaking Art
Go Block, advocates of unconventional printmaking; also known as expanded printmaking)/ extended printmaking/alternative printmaking), is now at the congregation of traditional, modern, contemporary, and numerous innovations. Go Block celebrate the passion in experiments, freedom of expression, and other possibilities which occur when artists challenge the norms of existing printmaking art. This Manifesto is the testament of Go Block dedication to redefine printmaking art. Hence, Unconventional Printmaking Art for Go Block is:
1. Accepting Varieties and Explorations
In unconventional printmaking, Go Block accepts various perspectives and encourages the artists to explore other fields. We celebrate the unity of traditional and advanced techniques and even a concept, we invite artists to free themselves from the limitations of conventional printmaking art.
2. Avoid Limited Edition
Unconventional printmaking artists have the right to challenge the idea of limited edition. Go Block believes that each print is unique artwork and accepts the idea that mass production does not determine the value of the artwork, it might reduce it. Go Block printmaking artist produce beyond the limitation of numbers.
3. Using Daily Objects
Go Block perceives our surrounding as the source of printing inspiration and it is not conventional. Everything from the waste to the landscape in town has something to offer for the creation of art. Go Block strives to rejuvenate forgotten objects and spaces.
4. Technology as the Drive
Unconventional printmaking artists have the right to use the technology. Go Block encourages artists to use digital tools, 3d printing and unconventional mediums to explore the boundary of printmaking. Technology is a friend to Go Block, not a foe.
5. Perfection in Art
Perfection is not our objective. We celebrate accidental effect, unexpected product and 'imperfections which appear in the process of printing. Each flaw has its own unique story.
6. Sustainable Creation
Go Block understands the importance of nature and strive to apply sustainability in artwork. Unconventional printmaking artists strive to reduce wasting, practice recycling, and reduce carbon footprints for the environment.
7. Exploring Concept and Context
For Go Block, printmaking art is a platform to narrate a story, provide social comments and explore concepts. Go Block encourages the artists to give deeper meaning to their printing, carry out dialogues and reflections.
8. Variety of Ideas and Collaborations
Collaboration is the actual essence of unconventional printmaking art. Go Block needs to move forward, and it encourages exchange of ideas and techniques which transcends boundary and limitations as well as nurture the community of artists to share similar views.
9. Printing as the Beginning
It perceives printing not as the end to an artwork but the beginning of creativity. Printing is able to functions as the basis to the production of art, form presentation and installation, and produce artwork with various disciplines: all these is to expand the possibility for creative expressions among the Go Block artists.
10. Temporary and Permeant
Unconventional printmaking artwork exist today and remain until the end of tome. Go Block celebrate the temporary nature of their work while creating prints which will prevail.
Hence: In the spirit of this unconventional printmaking. Go Block challenges, innovates, and redefine all possible boundaries. This manifesto is a call to all artists around the world to come together and collaborate with Go Block to embark on an interesting journey to penetrate the limits, change the world view, and create artwork which transcends. the convention. At the same time, we bring forth the tradition, talk about humanity, and remain in tangent with the development of current technology.
8. Conclusion and Hope for a Progressive Go Block
In principles, Go Block has started its movement and is also working on ideas for contemporary printmaking art through the 'unconventional' path which highlights the character and concept in conventional printmaking discipline. To summarize this discussion:
"Go Block printmaking artists have successfully explored significant and new potential changes through 'printmaking discourse that they understand;"
For Samsudin Wahab, explaining each aspect of exploration in Go Block, requires a collective effort that is thematic at each Go Block exhibition. Case study of Senibuku exhibition at Cult Gallery proves that it was a success when the team was given a thematic exploration platform on which the artists worked collectively among them. The artist sacrifice personal idea for 'exploration persona' about the "book art theme" itself. Six (6) previous exploration series of Go Block can be restructured; written by the authors on focused themes; systematically disseminated; and after (7) or eight (8) series, Go Block will have exhibited, discussed, and create a new phenomenon for printmaking art in this area.
In addition, the issue that needs reflection is, what is the actual responsibility of the 'artist' after the 'printmaking art' discipline has successfully been expanded? Just like before, as envisioned by Dr Azlan we have to brace ourselves to understand and progress forward to face the actual function of this medium that is:
"Printmaking must be the important platform as the general dissemination medium and 'nerve war' to the public in dealing with issues which are related to the matter of beauty, divinity, climate change, politics, social, culture, religion, economy, patriotism, psychology, and anything else for that matter. Printmaking is responsible to become a tool to change the public's motivation and drive on any issue that is brought up. Today, it is also the responsibility of the printmaking artists to record memories, ignite passion and the drive, criticize the public, and later share the intellectual doctrine and upholds the wonders of ideas and thoughts to move forward."
Something that completely amazes me, Go Block would like to shoulder this responsibility as an artist through a discipline called "Printmaking"!
Ishak Ramli, Ph.D
Kolej Pengajian Seni Kreatif UiTM Cawangan Perak
*taken from the exhibition catalogue - GO BLOCK Vol. 7, exhibition runs from 18 Oct-12 Nov 2023, at Galeri Puteh, Kuala Lumpur
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