Prof. dr. Erőss István (HU)
Hungarian artist István Erőss works at Eszterházy Károly University, Eger, as professor at the Visual Arts Institute. He graduated from the Hungarian University of Fine Arts in 1995 as a printmaker, but he also attended other institutions, such as the Academy of Fine Arts Vienna, the Royal Academy of Art (The Hague) and the University of Fine Arts in Marseille. He defended his DLA thesis about ”Nature Art” in 2009. He has taken numerous professional trips to remote countries: he has been to Africa five times and to Asia more than forty times as a guest artist, exhibitor, lecturer or curator of different artists’ camps and symposia. He is exhibitor and organiser of the series of international exchange exhibitions entitled SEGMENT, consisting of twice nine events held in Hungary and several Asian countries up to now. He works in different genres ranging from printmaking through installation to sculpture.
Sona Harutyunyan studied Art history, Classical and Christian archaeology at Albert-Ludwigs-Universität Freiburg, Germany. She worked at the Modern Art Museum in Yerevan, as the Advisor to the Minister of Culture of the Republic of Armenia, and as the Head of the Department of Contemporary Art of the Ministry of Culture of the Republic of Armenia. Sona Harutyunyan founded KulturDialog Armenien in Yerevan (Armenia) in 2012 which disseminates contemporary Armenian art in Armenia and abroad.
In 2017, in the frames of KulturDialog Armenien’s activity, for the first time in Armenia, Sona Harutyunyan initiated and implemented the First International Print Biennale, Yerevan 2017, the continuation of which was the Second International Print Biennale, Yerevan 2019.
At present doctor associate professor at the Graphic Art Department of the University of Art and Design Cluj-Napoca, România Alice Andreea Iliescu teaches Engraving Techniques in the framework of the Bachelor Program Comic Strips and in the framework of the Master Program Comic Strips and Cartoon Arts.
She graduated the Bachelor, Master and Doctor degrees at the same university, then in France, Paris she graduated the second Master specialization ”Comic strips, text, image” at École européenne supérieure de l’image (ÉESI), Angoulême. She participated at the curatorial training programmes courses in the framework of the International Museology Seminar, Musee et territoire, Ecole du Louvre, Paris, France.
Since 2007, beside her individual exhibitions she has been participating at several national and international group exhibitions, at conferences, symposia, workshops, study and teaching trips, art reviews, which have been representing lucky occasions of professional and cultural improvement. Since 2010 she has been preoccupied permanently and consistently with the research in her speciality field.
Born in 1956, Vécsi Nagy Zoltán is an art historian, director of the Transylvanian Art Centre (EMŰK) in Sfântu Gheorghe.
He is specialized on Hungarian art in Romania (Transylvania) of the period between 1945 and 1989. He is author of several professional books, monographies, catalogues, lexicon articles and entries respectively of art essays. He is organizer of the exhibitions entitled ”Midpoint – Hungarian Art of Transylvania between 1965 and 1975” and ”Sociorelative – Hungarian Art of Transylvania between 1945 and 1965”, he is also curator of several monographic and group exhibitions.
He is director of the basic exhibitions of the Graphic Art Biennial of Szeklerland.
Apor Ferencz S. is a visual artist, born in 1975, he graduated the Bucharest National University of Arts in 2001. He is member of several professional organisations such as the Romanian Artists` Union (UAP), the Caffart Fine Art Association in Budapest and the MAMŰ Art Society (HU). He is also founder and editor of the online visual art forum ”Fórumtizenöt” [Forum fifteen] and active organizer of many local exhibitions and professional events. From 2017 he is the curator of the Graphic Art Biennial of Szeklerland.
In his works he mainly deals with the problems of his personal existence and the social issues of his environment. Sometimes he redefines his works creating collages and installations of his personal objects and family photos. Found and rebuilt objects have an important role and he often integrates some elements of the material culture of his ”province” into his art.
Ábel Kónya is an artist, curator, graphic designer, born in 1975 in Debrecen. From 1994 to 1997 he was a drum teacher at the Rockschool in Debrecen, drummer of the band Garbo, then from 1998 to 2003 he studied at the Faculty of Graphic Arts of the Academy of Fine Arts in Krakow, between 2003–2005 he took part in an internship at the Batuz Foundation in Germany. In 2005 he graduated the Academy of Fine Arts in Krakow with a degree in intermedia. Since 2006 he has been member of the National Association of Hungarian Artists (MAOE, graphics department) and of the Ajtósi Dürer Association of Graphic Artists.
In the period of 2006–2016 he was an art teacher at the Medgyessy Ferenc High School and Art High School in Debrecen, since 2013 he has become territorial elected member of MAOE. Between 2016–2018 he was leading curator of MODEM, deputy director of Déri Museum – MODEM. Since 2019 as deputy director of the Herman Ottó Museum, he has been leading the partner institution Miskolc Gallery.
Marcin Białas was born in 1977 in Zawiercie (Poland). He studied in the Faculty of Art at the Academy of Fine Arts in Katowice. His diploma was obtained in the Intaglio Printing Studio of Professor Jan Szmatloch in 2004 and he was awarded a medal. After graduation he joined the academic staff of the faculty. In 2011 he was granted the title of Doctor of Arts and in 2019 associate professor (dr. hab.) His main interests are graphic arts (intaglio technique) and drawing. Since 2003 he has been participating actively in reviews and festivals of graphics in Poland and abroad.
He had several solo exhibitions (Poland, Canada, France, Ireland, Germany, Romania, Belarus) and participated in over two hundred group exhibitions, including in Poland and France, Denmark, Hungary, India, Switzerland, Romania, Czech Republic, Bulgaria, Spain, Greece, Canada, Taiwan, Italy, Turkey, Egipt, Lithuania, Republic of Macedonia, China, Japan, Thailand, USA, Korea, Germany, Austria, Belarus, Spain, etc.
During the application period of ten weeks around 2100 creations were submitted from 868 artists of 65 countries. The jury selected 301 art works into the core material of the biennial, which we publish here in the following list.
IMPORTANT! Considering the globally spread COVID 19 – corona virus epidemy we had to modifiy the organisation of the 2020 biennial.
Please DO NOT SEND IN the selected art works! In the following we will inform you via email about the novelties.
Thank you for your understanding!
|Nr.||Name||Title of the artwork||Country|
|3||Adam Czeh||Heroon Grove||Poland|
|4||Adorjáni Márta||EGY ÉV ÚJRASZERKESZTVE||Romania|
|5||EGY ÉV ÚJRASZERKESZTVE|
|6||Adrian Schichta||“Mach dir keine Sorgen, es geht uns gut” V||Poland|
|8||Agnieszka Lech-Bińczycka||Lost and found||Poland|
|9||Albert Levente||Tökéletlen lények3.||Romania|
|12||Aleksandra Prusinowska||Dreamer 1||Poland|
|14||Alexander Lazarkov||Purification 3||Bulgaria|
|15||Amadeusz Popek||Blizzard I||Poland|
|16||Amira Tame||Mapa a la quietud/ Map to quietness||Mexico|
|17||Amiya Ranjan Ojha||Day dream||India|
|18||Amnat Kongwaree||The State of Mind||Thailand|
|19||Ana Vivoda||Traces 3||Croatia|
|20||Ana Maria Delalle||No name – mixed-technique-50-x70-cm-2019||Croatia|
|21||Anabela Sladek||Frozen Fields of the Future #1-FB||Slovakia|
|22||Andreas Panayi||In a gentle way, you can shake the world!||Cyprus|
|24||Andrzej Wochnik||colour space I||Poland|
|26||Anna Trojanowska||EVALUATION’S EVENT_05 (ZDARZENIE EWALUACYJNE_05)||Poland|
|27||EVALUATION’S EVENT_07 (ZDARZENIE EWALUACYJNE_07)|
|28||Antal István||Nine men’s morris||Austria|
|29||Aphisit Sangthong||What happened with the world? II||Thailand|
|31||Artur Masternak||Difference and repetition||Poland|
|32||Bălan Maria||The Mimetic Tree||Romania|
|33||Barti Magdolna||Történetek VI.||Hungary|
|34||Benjamin Vasserman||Adaptation III||Estonia|
|35||Bhagaban Sahu||Personal justification||India|
|36||Bodor Anikó||Maros(p)-art 1||Hungary|
|37||Boros Mátyás||Tájkép 2.||Hungary|
|39||Carlos Ivan Torres Ornelas||El Iluminado||Mexico|
|40||Cecilia Hurtado||Disarming Dictatorships II||Mexico|
|41||Disarming Dictatorships III|
|42||Chakrit Lapaudomloet||Zero Gravity||Thailand|
|43||Chanchai Laorattanaruengchai||Space of Imagine from Memories No.2||Thailand|
|44||Chawit Srisawad||when I was young No.1||Thailand|
|46||Colin Gillespie||‘Confusion’||United Kingdom|
|47||Csízy László Zoltán||Térlátás||Hungary|
|48||Csontó Lajos||Három pápa, 1 (sorozat, nem bontható)||Hungary|
|49||Három pápa, 2 (sorozat, nem bontható)|
|50||Három pápa, 3 (sorozat, nem bontható)|
|51||Cui Xiaohua||Hi Beauty I!||China|
|52||Damian Idzikowski||District 01||Poland|
|53||Daniela Roman||déja prete elle se cache le coeur battant||France|
|54||Danilo Roberto Perillo||a paleta presente (the present palette)||Brasil|
|55||Daradics Árpád||Szarvaslesen + Art, vagy lövök sorozatból.||Hungary|
|56||Darya Hancharova||Selves 1||Poland|
|57||David Israel Cuevas Castro||Episodio 3 de una construcción interior-imagen-2||Mexico|
|59||Deborah Chapman||Rendez-vouz dans la nuit||Canada|
|60||Dimény András||Oldódó geometria / Dissolving geometry – 2||Romania|
|61||Dinara Hörtnagl||«Free Bullterrier»||Austria|
|62||Đorđe Ćorić||The Trace of Life 3 (57)||Serbia|
|63||Dorota Ziolkowska||Unmoved Mover_serie III_v02||Mexico|
|64||Dorota Bujak||cycle “Mythology of the People of Siberia 02”||Poland|
|65||Dr. Nityananda Gaine||Existence-2||Bangladesh|
|67||Ekaterina Kovzus||The conflict||Belarus|
|68||Elian Stolarsky||women from Civil War||Spain|
|69||Trains (dyptich part 1)|
|70||Trains (dyptich part 1)|
|72||Elsa Ohana||Jeter un oeil #1||France|
|75||Felsmann Tamás||H.S.T. Hora Sine Tempore No.1 /Idő nélküli esemény||Hungary|
|76||Francesca Marcolin||Walking the Great Garbage Patch||Italy|
|77||Frédéric Wieme||crying shame||Belgium|
|78||Frimmel Gyula||Isten áldja Albín Brunovsky!||Hungary|
|80||Fulop Eduard||A magical place where 99% of memories happen. 2||Romania|
|81||Fülöp Mária||Szubliminális üzenet 2 / Subliminal message 1||Romania|
|82||Gábor Éva Mária||Entrópia a pokolban 1.||Hungary|
|83||Gabriela Ochalik||Scars I||Poland|
|84||Gagyi Judit Eszter||Siet a késés 3||Romania|
|85||Gema Climent Camacho||bamboo forest with red fence||Spain|
|86||Georg Bothe||Carbona not Glue XXXIX (e.a. II/VI)||Germany|
|87||Kárpáti Gergely||Cím nélkül IX.||Hungary|
|88||Giacomo Miracola||soldier of hope 2||Italy|
|89||Guanchu Zhu||Chinese Sign Language Symbol Conversion-cloud ?||China|
|90||Gustavo Garcia Murrieta||“Barullo” (jungle hubbub) diptych 2:2||Mexico|
|91||Hamidreza Norouzi||dark window||Iran|
|95||Haruhiko Yoshinaga||Arches / T.O.20-03||Japan|
|96||Havadi Nagy Dávid István||Kelet Európa||Romania|
|97||Henryk Krolikowski||Miss Alice||Poland|
|98||Herendi Péter||Föld-rajz No.2||Hungary|
|99||Herma Deenen||No Title||Nederland|
|100||Horváth Kinga||Összekötő XII.||Hungary|
|101||Hyejeong Kwon||Never ending story||Korea|
|102||Horvath Bugnariu Ioan||Tati, unde fuge pădurea?||Romania|
|103||Ioannis Anastasiou||XXIc Trichotomy IV||Greece|
|104||Irena Lawruszko||Korozia and Patina I||Poland|
|105||Irina Gonzales||Clavado III||Peru|
|106||Ivácson Bella-Rebekka||ALTERATION no5||Hungary|
|107||Izabela Stenka||Roman Two||Poland|
|109||Jacek Machowski||Zen garden 1||Poland|
|110||Jaco Putker||The Boy in the Rocket b||Nederland|
|112||Jaeger Tibor||Kép-zet 4||Sweden|
|114||Jason Reittom||Deus Ex Machina Act 2||France|
|115||Jayne Reid Jackson||#Red-Eye||USA|
|116||Joanna Paljocha||“Widowisko” (Spectacle)||Poland|
|117||Jónás Péter||Műtermi (Füredi út)||Hungary|
|118||Magasság és átmérő (40+)|
|119||Jonathan McFadden||I keep my hands behind my back when I look at art||USA|
|121||Jukka Vänttinen||The Ladder||Sweden|
|123||Kacper Bozek||The Ministry||Poland|
|124||Kamil Zaleski||Cwiczenia 36||Poland|
|125||Kamila Bednarska||motion (grey)||Poland|
|128||Katarzyna Winczek||Mappa XV/2||Poland|
|129||Kemal Yildiz||Archival Documents-1||Turkey|
|131||Kitipong Ngowsiri||A Matter of Waiting Time No. 5||Thailand|
|132||A Matter of Waiting Time No. 10|
|133||Kónya Kincső||Énkép III.||Hungary|
|135||Krizbai Gergely||NapiSzörny no.225||Hungary|
|136||Krizsanyik István||Composition 2||Hungary|
|137||Kuljirat Chaiphet||On the beach 10||Thailand|
|138||On the beach 9|
|139||KyeongAh Min||Pinocchio Rhapsody||Korea|
|141||Lehoczki Liza||Az otthon varázsa IV.||Hungary|
|144||Linda Whitney||Traditional Dancer – Grand Entry (mezzotint)||USA|
|145||LIU Fu||Lost Paradise series VI||China|
|146||Lost Paradise series VII|
|147||Lobler Ferenc||REM I.||Hungary|
|148||Lucaciu Adriana||Imperfect Symmetry||Romania|
|149||Łukasz Koniuszy||Central Structure||Poland|
|150||Maciej Zdanowicz||Aljazeera: Messages from Syria||Poland|
|153||Magdalena Banaś||Massif I||Poland|
|157||Manuel Ruelas (Fases)||codex||USA|
|158||Marcela Gawęda||Defect 2||Poland|
|160||Marcin Hajewski||Induction I||Poland|
|162||Marek Zajko||Man bit dog 1 / version 2||Poland|
|163||Maria Doering||Nostalgic, State II||Canada|
|164||Marija Marcelionyte-Paliuke||Dusseldorf Art Academy Altars 1||Lithuania|
|166||“Happy new year!”|
|167||Marisol Rojas||Camp & Queer Graphic Essay 2||Mexico|
|168||Marius Martinescu||Prise de connaissance de termes et condition||France|
|169||Mariusz Dański||Danski_From the series I sowed white grain – altar||Poland|
|170||Marta Pogorzelec||Void II||Poland|
|171||Masaaki Sugita||The Angel with the Key of the Bottomless||Japan|
|172||Mayer Éva||Főbűnök I.||Hungary|
|173||Metasit Bunaikbuth||Medieval beliefs lll.||Thailand|
|174||Mettrai Pongchomporn||Our order NO.3||Thailand|
|175||Our order NO.5|
|176||We’re different NO.02|
|177||Michael Wagner||Red Aquarius||Germany|
|178||Micko Mice Jankulovski||FORMS of VENICE IV-C||Macedonia|
|179||FORMS of VENICE V-C|
|180||Mirjana Preradović||Ground floor||Bosnia and Herzegovina|
|181||Miroslaw Pawlowski||Camouflage – 4blue||Poland|
|182||Monika Pałka||Separate Worlds||Poland|
|183||Mr. Jakkrawut Phoinok||the community||Thailand|
|184||Nagy Annamária||Noktürn I. (Nocturne I.)||Romania|
|185||Nagy Lajos||Nem, csak a kép fut megint!_00||Hungary|
|186||Nagy Zsófia||Copy Right||Hungary|
|187||Nanako Yoshikawa||The last day||Japan|
|188||Natalia Kwiatkowska||The Gathering||Poland|
|189||Natalia Pawlus||don’t hesitate to ask||Poland|
|190||Nathan Meltz||Watership Down||USA|
|192||Nikola Kašterović||They don’t want us to know||Bosnia and Herzegovina|
|195||Nuttawut Kaiwansin||Hael no.2||Thailand|
|196||Olesya Dzhurayeva||Spring day in Berlin||Ukraine|
|197||Nordic light. Stockholm|
|198||Oliver Pilić||Followed by||Slovenia|
|199||Orbán Zsófia||Egy héttel később||Hungary|
|200||Orosz Csaba||Out of The House 2.||Hungary|
|201||Out of The House 4.|
|204||Ovidiu Tarța||…la Șuncuiuș||Romania|
|205||Özgür Uguz||NEST IV||Turkey|
|206||Pablo Querea Gutierrez||ashamed to be||Mexico|
|208||Paola Villa||Around the corner||Mexico|
|209||Paolo Schiavon||‘a-mare’ (‘loving’ and ‘into the sea’)||Italy|
|210||Patipon Supanpong||Things and Teaces in Memory 5||Thailand|
|211||Patryk Gmerek||Fleeting Memories I||Poland|
|212||Paulina Bobak||Anthropological forms3||Poland|
|214||Paweł Delekta||Chess II||Poland|
|215||Petca Ovidiu||THE LIGHT OF LAMENT III (A SIRALOM FÉNYE III)||Romania|
|216||Peter Kocak||Homage to H. Bosch||Slovakia|
|219||Pető Hunor||Organikus építészet // Organic architecture||Hungary|
|220||Pimpaporn Changtobtang||She’s a sacrifice.||Thailand|
|221||Piotr Żaczek||Arche XXXIX||Poland|
|223||Pitawat Sirisombut||Melody of nostalgia 7_thesis_๒๐๐๓๑๑_0004||Thailand|
|224||Pontakorn Nunsai||Untitled – IMG_0689||Thailand|
|225||Pop Adriana Mihaela||vertikal||Romania|
|226||Rabinarayan Gupta||Temptation of the Devil||India|
|228||Rama Chandra Majhi||Village Paradise – 1.-Art-Work-1-final||India|
|229||Rattana Sudjarit||The way of Harvester No 2||Thailand|
|230||The way of Harvester No 2|
|231||Renata Maria Gogol||Have Fun||Poland|
|232||Ritli Róbert Roland||Háború 3||Romania|
|234||Robert Jancovic jr.||Lithographic stone, area or space||Slovakia|
|235||Roxana Bloju||6_20_8_11_19_24 (I)||Romania|
|237||Ryan Farley||Running Through the Mind||USA|
|238||Salvatore Lovaglio||RIFLESSIONI N. 2||Italy|
|239||Sanja Žigić||02. From series of artworks Barriers||Serbia|
|240||Sarita Rauta||Queen is Queen_New-Doc-2020-03-19-16_00_33_1||India|
|242||Sebastian Laszczyk||Triplicata II||Poland|
|243||Semih Çinar||Factory And Shade XVII||Turkey|
|244||Serena Pagnini||Il banchetto II||Italy|
|245||Sinka Péter||Fosszília I.||Hungary|
|246||Sjoerd Tegelaers||Cold war||Nederland|
|247||Sławomir Plewko||Immersion of Space (Rudimentary Comment A)||Poland|
|248||Sorrathun Ouikhum||Force Within no.2||Thailand|
|250||Stanislaw Cholewa||machine 31||Poland|
|251||Stark István||Érfestés II.51||Hungary|
|252||Stas Shakarvis||I’m not here!||Russia|
|253||Stefania Anastasia Patrikiou||Untitled||Greece|
|254||Subhas Chandra Nath||Gravestone ll||India|
|255||Supattanawadee Muanta||Gender Bending NO.2||Thailand|
|256||Gender Bending NO.6|
|257||Supicha Sutanthavibul||Insane Instinct 6||Thailand|
|258||Insane Instinct 8|
|259||Suzana Fântânariu||Manuscris III||Romania|
|260||Szabó Andrea||About me I.||Hungary|
|261||Szabó Kristóf – KristofLab||Wrong Data N03||Hungary|
|262||Szabó Ábel||Valahol Közép Európában||Hungary|
|263||Szabó Anna||Ítéletlogika II.||Hungary|
|266||Szilágyi Rudolf||Classical rehabilitation I.||Hungary|
|267||Classical rehabilitation II.|
|268||Szőke Erika||Üstökössé válás III., Kirlian-fotó/elektrográfia||Slovakia|
|269||Teerawoot COM-ON||Love Forever No.2||Thailand|
|270||Thanaporn Anyamaneecharoen||My Monalisa||Thailand|
|271||the OGROCADAVER||The Cheater||Poland|
|272||Thiyawadee Jantawong||Tie Life No.4||Thailand|
|273||Tina Wohlfarth||OPHELIA I/7||Germany|
|274||Tolnay Imre||Melancholy 5 – The apse||Hungary|
|275||Tomasz Winiarski||Perpetuum mobile: CII||Poland|
|276||Perpetuum mobile: CIV|
|277||Tomasz Chudzik||Subiective spaces XIII||Poland|
|278||Toró József||Üzenet I||Hungary|
|281||Trentin Marco||turnover of stage war||Italy|
|282||Tukuna Dakua||Black beauty||India|
|283||Urbán Tamara Eszter||„A Nagyapám”||Hungary|
|284||Ushnish Mukhopadhyay||Autopsy Study 4 (Self)||India|
|285||Végvári Beatrix||Mielőtt elévül||Hungary|
|287||Wanchai Narongchai||Identity No.1||Thailand|
|288||Warranutchai Kajaree||remain the painfuling 2||Thailand|
|289||remain the painfuling 4|
|291||Wei Yuhang||Season of mediocrity III||China|
|294||Wojciech Tylbor-Kubrakiewicz||Safe Passage||Poland|
|296||Yutt Puektasajatam||Overlapping 8||Thailand|
|297||Z. Erdei Anna||Flashmob||Hungary|
|298||Zeman-Juhász Éva||Kapcsolat I.||Hungary|
|300||Zoran Mishe||Totem -unbreakable spirit II||Bulgaria|
|301||Zuzanna Marczak||“She liked the wafer so much…”||Poland|
The professional interest towards the Graphic Art Biennial of Szeklerland is undiminished this year, too. This is also confirmed by the fact, that compared to the 58 countries of last year, this year graphic artists from 65 countries submitted their works to the contest. Similar to the previous editions of the Biennial, the Hungarian, Polish and Romanian presence is still the most pronounced, but this year some oriental countries are represented much stronger, too, among them Thailand, India, China or Japan. During the submission period of ten weeks we received around 2100 art works from 868 artists.
The deadline of application for the 6th Graphic Art Biennial of Szeklerland was the midnight of March 23, after that the first stage of jurying took place in the period of March 29-31. The jury of the G6 is made up of internationally recognized art historians like: dr. Alice Andreea Iliescu graphic artist – lecturer at University of Art and Design, Cluj Napoca, Romania, Prof. dr. István Erőss graphic artist – professor at Eszterházy Károly University, Eger, Hungary, Sona Harutyunyan art historian – founding president of KulturDialog Armenien / founder and managing director of International Print Biennale Yerevan, Armenia, dr. Marcin Bialas graphic artist – associate professor at Academy of Fine Arts in Katowice, Poland, Zoltán Vécsi Nagy art historian – director of Transylvanian Art Center, Sfântu Gheorghe, Romania, Ábel Kónya visual artist – director of the Gallery of Miskolc, curator of the Miskolc Graphic Art Triennial, Hungary and Apor Ferencz S. visual artist – curator of the biennial G6, Miercurea Ciuc, Romania.
Taking into account the epidemic situation, the jury members selected online the basic material of the Biennial made up of 300 art works on basis of exclusively professional criteria and on basis of the formal criteria of the call for application.
Soon we’ll publish the list of the selected works on the website of the Biennial.
The professional artists and the art university students have 3 more days to participate in the 5th Graphic Art Biennial of Szeklerland. The organizers are waiting for the digital reproduction of the artworks by (Monday) March 23, midnight (UTC+2) instead of March 20.
The registration form and further information related to application is available at the following link: https://grafikaiszemle.ro/call-for-application-en/
The 6th Graphic Art Biennial of Szeklerland, Sfântu Gheorghe, 2020
The Covasna, Harghita and Mureş County Councils, together with the Cultural Center of Covasna County, the Lăzarea Cultural and Creation Center and the Mureș County Museum, announce the application for the 6th Graphic Art Biennial of Szeklerland.
The Graphic Art Biennial of Szeklerland celebrates its 10th anniversary in the year 2020. The exhibitions presented so far within the framework of this international contest, as well as the professional quality and the quantity of the submitted artworks have confirmed, that the development of graphic techniques respectively the development of different visual representation forms manifesting themselves through these, is continuous. The biennial to be organized for the 6th time now is an excellent occasion for the organizers as well to sum up the experiences of the past decade in order to use them successfully by the organisation of the next event of this kind.
The 6th Graphic Art Biennial of Szeklerland aims to present those professional tendencies, which are characterized by experimentation, the crossing of boundaries, the reinterpretation of standards or the breaking down of former hierarchies. The G6 is looking forward for answers from artists of different nationalities, belonging to various cultures, being eager to find out their attitude towards the issues of their own environment and of the whole world manifested through the language of contemporary graphic art. What kind of answers do they give to questions concerning globalization, politics, economy or other social issues? How do they represent the problems of their immediate environment or their individual life through their art, how do they consider possible to represent through the language of contemporary graphic art tradition and complete revival alike?
G6 awaits those art works as well, which are not primarily concerned about the definition of the ideal of beauty but they rather look for its problematization. Therefore the organizers propose that the key words of the 6th Graphic Art Biennial of Szeklerland should be enclosed in the title „The Structure of Chaos”. Chaos means in this context the insecurity of predictability and order bears the sense of exact geometric structure or previsibility, respectively there are also implied here the eventual sociological, political, cultural, ecological and economical aspects of these ideas.
In the spirit of the ideas above,
the organizers of the biennial expect the submission of printed graphics created with the following procedures:
– graphic artworks created with traditional procedures of graphic art;
– graphic artworks created with digital methods of image creation and printed with digital devices;
– graphic artworks prepared with digital methods of image creation but printed with traditional methods.
Terms and Conditions of Participation in the 6th Graphic Art Biennial of Szeklerland
The terms and conditions of the biennial have partly changed! Please read the terms and conditions of participation attentively!
Professional artists and art university students may participate in the biennial if their application is in conformity with the Terms and Conditions included in the Call for Application.
Associations, professional organizations and other groups cannot apply. The artists can apply to the biennial only personally.
2. CRITERIA OF ARTWORKS TO BE SUBMITTED
– The topic of the artworks can be freely chosen.
– The paper size of the artworks must be minimum 30×30 cm, and maximum 100×100 cm.
– The submitted graphic artwork has been created in the past two years.
– All artworks created with printed graphics procedures are accepted, included in the definition of graphics in terms of high, low and plain print methods (woodcut and linocut, aquaforte, aquatint, mezzotint, lithography, screen printing, individual print, C-print, offset, electrographics, etc.).
– Every artist may participate with maximum 3 artworks. Every submitted artwork counts as 1 artwork. The elements of a series count as separate artworks; thus, a three-element series counts as three artworks.
– Artworks created in pencil, pastel, coal, ink and other individual, that is not multiplication procedures as well as photos printed without any image manipulation or reproductions of artworks (paintings, sculptures, installations, performances, etc.) are not accepted.
Submission is only possible on the following website, via the online entry form: Entry form 2020
The digital reproductions of the artworks can be uploaded online, via the entry form, together with the required data.
Parameters of digital reproductions:
– the file size of the digital image may not exceed 15 MB;
– the digital images can be uploaded in uncompressed jpg, jpge or png format, 300 dpi resolution;
– the longer size must be minimum 2500 pixels.
If the uploading was successful, the system will send a confirmation message to the e-mail address specified in the filled-in entry form. If you might have problems with online registration, please contact the organizers on the following e-mail: email@example.com
The deadline of submitting the digital reproductions is March 20, 2020, midnight, 12:00 (UTC+2).
Important! With submission the applicants assume that, if their submitted works are selected by the jury, they will send the original artworks by post or will submit them to the biennial in person. The organizers do not assume the printing of the artworks or the refunding of printing costs!
Important! For the phase of preselection please don’t send the original artworks by post! If this is the case, we are unable to send back the original artworks.
4. ENTRY FEE
There is no entry fee for the 6th Graphic Art Biennial of Szeklerland.
5. SELECTION OF THE ARTWORKS, EVALUATION BY
The members of the jury are internationally acknowledged art historians and artists.
The evaluation will take place in two phases: preselection and the selection of the awarded artworks.
The decisions of the jury cannot be overridden.
The preselection will take place based on the digital reproductions of the artworks to be submitted.
The jury will select the artworks that qualify for the second phase; these artworks will be included in the catalogue of the biennial.
All participants will be informed on the results of preselection via e-mail.
5/b Sending the artworks qualifying for the second phase by post
The original artworks must be sent by post or submitted to the biennial in person.
Please attach to the submitted artworks the printed entry form received via e-mail during online registration in the first phase. The artworks must be numbered and signed in accordance with the international graphics standards.
Original graphic artworks must be submitted without their frames or mat boards, in portfolios or carton reels.
Postal / shipping address:
Centrul de Cultură al Judeţului Covasna
RO-520008 Sfântu Gheorghe, Str. Libertății nr. 2
Please indicate on the postal package:
The 6th Graphic Art Biennial of Szeklerland
For cultural purpose only, no commercial value!
The deadline for sending the original artworks by post (postmark date) or submitting them in person is May 10, 2020.
Artworks sent after the deadline will be automatically excluded
We do not assume any responsibility and cannot compensate for possible damages that might occur during transport.
– Main Prize of the Biennial: 2000 Euro
– Nagy Imre Prize: 1000 Euro
– Plugor Sándor Prize: 1000 Euro
– Nagy Pál Prize: 1000 Euro
6. EXHIBITION AND AWARDING
The artworks selected for the second phase will be exhibited in the course of the biennial depending on the exhibition surface and the ranking of the jury.
Venue: Transylvanian Art Center, Sfântu Gheorghe.
Official opening of the biennial: Friday, October 9, 2020, 5 PM
The authors of the artworks will be informed on the decision of the jury and the details of the opening ceremony by post, phone or via e-mail.
7. FURTHER INFORMATION
– The awarded artworks will remain in the property of the Transylvanian Art Center.
– Each artist may donate his work, extending in this way the graphic collection of the Transylvanian Art Centre. You can express this intention by the completion of the application form.
– After the exhibitions of the Biennial the exhibited artworks will be sent back to their authors by post within one year. The donated works constitute an exception here.
– The selected artworks will be included in the biennial’s catalogue.
– The organizers of the biennial reserve the right to organize the exhibitions.
Submission implies the acceptance of the terms and conditions of participation in the biennial!
Download the call for application: .pdf
There is one day left until the submission deadline. We are expecting your applications to the Graphics Review, the 3rd Graphic Art Biennial of Szeklerland until tomorrow, 25 November 2014, 12 p.m., to one of the following e-mail addresses: firstname.lastname@example.org or email@example.com.
Please, don’t forget to attach to the reproductions the data of your artworks and the entry form.
You have one more week to apply to the Graphics Review, the 3rd Graphic Art Biennial of Szeklerland. Deadline for sending the digital reproductions of your work is 25 November 2014, 12 p.m. The entry form and other important information about the biennial can be found on the website of the event: www.grafikaiszemle.ro/en.
We are waiting for your application!