The discipline of geology was relatively new at the start of the United States Geological Survey (USGS) in the late 1800s, but through the organisation of an efficient government bureau and the voice of its printed page, it became a dominant perspective in the way generations of citizens relate to and view the natural world, human and nonhuman, life and nonlife. I choose to position my press in direct opposition to the maintenance of these dualisms. I will argue the critical role of print in facilitating USGS domination of terrestrial beings in a practical sense, yet beyond the methods and reach of publication, I believe the products of the USGS mediate our understanding of and relation to these beings. Instead, design practices can be directed towards changing attitudes and understanding between humans and nonhumans. Monika Bakke argues for the importance of artistic endeavours in addressing our collective futurity: Drawing on both life’s mineral origins and its key role in shaping mineral species, artists are turning to technoscience in order to develop, outside expert circles, better understanding of physical, chemical, and biological environments, not just of the geological past but also those to come in the future. ... Yet, their methodologies are specific to art which offers creative ontological and ethical contributions to public debate. (2017, p. 43) I am developing a design research paradigm relating to ochre as an epistemic tool for human and nonhuman intersubjectivity and ontological reconciliation or reunification between life and nonlife. I model my practice after a simplification of the USGS: to survey (observe, describe, collect) and to report (archive, document, record), with some critical variance in method and outcomes.
{"title":"Printing Ochre","authors":"Elpitha Tsoutsounakis","doi":"10.54632/1305.impj2","DOIUrl":"https://doi.org/10.54632/1305.impj2","url":null,"abstract":"\u0000\u0000\u0000The discipline of geology was relatively new at the start of the United States Geological Survey (USGS) in the late 1800s, but through the organisation of an efficient government bureau and the voice of its printed page, it became a dominant perspective in the way generations of citizens relate to and view the natural world, human and nonhuman, life and nonlife. I choose to position my press in direct opposition to the maintenance of these dualisms.\u0000I will argue the critical role of print in facilitating USGS domination of terrestrial beings in a practical sense, yet beyond the methods and reach of publication, I believe the products of the USGS mediate our understanding of and relation to these beings. Instead, design practices can be directed towards changing attitudes and understanding between humans and nonhumans. Monika Bakke argues for the importance of artistic endeavours in addressing our collective futurity:\u0000Drawing on both life’s mineral origins and its key role in shaping mineral species, artists are turning to technoscience in order to develop, outside expert circles, better understanding of physical, chemical, and biological environments, not just of the geological past but also those to come in the future. ... Yet, their methodologies are specific to art which offers creative ontological and ethical contributions to public debate. (2017, p. 43)\u0000I am developing a design research paradigm relating to ochre as an epistemic tool for human and nonhuman intersubjectivity and ontological reconciliation or reunification between life and nonlife. I model my practice after a simplification of the USGS: to survey (observe, describe, collect) and to report (archive, document, record), with some critical variance in method and outcomes.\u0000\u0000\u0000","PeriodicalId":486968,"journal":{"name":"IMPACT Printmaking Journal","volume":"24 22","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140981618","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Sometime in 2017, I moved from Melbourne, Australia to Dublin, Ireland. I’d studied and exhibited art in Australia, and in becoming an immigrant, I risked leaving my life and community behind to start somewhere else as a stranger. My work in Australia had centred around the connections between science, space and storytelling. It had also been, as all art is, a portrait of myself, albeit a heavily buried and obscured one. The move disrupted that work, and in my Dublin studio, I began making friends and exploring ways to make art that felt new and relevant. The dislocation that goes hand in hand with moving to the other side of the world crept into my practice. Listening to music felt like a way to time travel. I had an inkling that I wanted to write about music, but I stopped myself because it seemed so far away from the artwork that I’d previously made. Another reason that I didn’t, though, is purely that it didn’t fit at the time. Now it does, and the idea I had in 2019 is back:
{"title":"Learning to Listen","authors":"Leonie Connellan","doi":"10.54632/1305.impj9","DOIUrl":"https://doi.org/10.54632/1305.impj9","url":null,"abstract":"Sometime in 2017, I moved from Melbourne, Australia to Dublin, Ireland. I’d studied and exhibited art in Australia, and in becoming an immigrant, I risked leaving my life and community behind to start somewhere else as a stranger. \u0000My work in Australia had centred around the connections between science, space and storytelling. It had also been, as all art is, a portrait of myself, albeit a heavily buried and obscured one. \u0000The move disrupted that work, and in my Dublin studio, I began making friends and exploring ways to make art that felt new and relevant. The dislocation that goes hand in hand with moving to the other side of the world crept into my practice. Listening to music felt like a way to time travel. I had an inkling that I wanted to write about music, but I stopped myself because it seemed so far away from the artwork that I’d previously made. \u0000Another reason that I didn’t, though, is purely that it didn’t fit at the time. Now it does, and the idea I had in 2019 is back:","PeriodicalId":486968,"journal":{"name":"IMPACT Printmaking Journal","volume":"26 7","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140980329","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article discusses the author’s transition from artist to curator and cultural producer of contemporary print exhibitions. By exploring the creative process of three exhibitions, including I AM that I AM (2015) at IMPACT 9 in Hangzhou (China), Out of the Matrix 3.0 (2018) at IMPACT 10 in Santander (Spain), and Out of the Matrix 2.0 (2019) at Hong Kong Open Printshop in Hong Kong (SAR, China), this paper uses personal reflections on the relationship between artistic practice, collaboration, and collective creation in cross-cultural print exhibition works. These research projects provide an opportunity to investigate specific elements of print productions from printmaking practice to collaborative curation.
{"title":"Print Imaging Practice","authors":"Chun Wai (Wilson) Yeung","doi":"10.54632/1305.impj12","DOIUrl":"https://doi.org/10.54632/1305.impj12","url":null,"abstract":"\u0000 \u0000 \u0000This article discusses the author’s transition from artist to curator and cultural producer of contemporary print exhibitions. By exploring the creative process of three exhibitions, including I AM that I AM (2015) at IMPACT 9 in Hangzhou (China), Out of the Matrix 3.0 (2018) at IMPACT 10 in Santander (Spain), and Out of the Matrix 2.0 (2019) at Hong Kong Open Printshop in Hong Kong (SAR, China), this paper uses personal reflections on the relationship between artistic practice, collaboration, and collective creation in cross-cultural print exhibition works. These research projects provide an opportunity to investigate specific elements of print productions from printmaking practice to collaborative curation. \u0000 \u0000 \u0000","PeriodicalId":486968,"journal":{"name":"IMPACT Printmaking Journal","volume":"31 19","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140980432","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
As the title suggests, this paper looks at ideas of passage, accumulation and repetition. I record birdsong in southern France where I live and work and make prints by re-visualising them with a sonogram programme. I walk and listen to the local terrain and while doing so am interested in the dynamic changes that surround me in nature and my emotional meeting point with them. The arrival, departure and movement of birds in the environment I would like to talk about specific works that illustrate how I use sonograms in the studio and about my low-fi techniques leading to my work with recordings and prints as a musical score for improvisation.
{"title":"Songs of Return","authors":"Victoria Arney","doi":"10.54632/1305.impj8","DOIUrl":"https://doi.org/10.54632/1305.impj8","url":null,"abstract":"As the title suggests, this paper looks at ideas of passage, accumulation and repetition. I record birdsong in southern France where I live and work and make prints by re-visualising them with a sonogram programme.\u0000I walk and listen to the local terrain and while doing so am interested in the dynamic changes that surround me in nature and my emotional meeting point with them. The arrival, departure and movement of birds in the environment\u0000I would like to talk about specific works that illustrate how I use sonograms in the studio and about my low-fi techniques leading to my work with recordings and prints as a musical score for improvisation.","PeriodicalId":486968,"journal":{"name":"IMPACT Printmaking Journal","volume":"28 27","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140980131","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
As restrictions due to the Covid-19 pandemic shaped a new reality in March 2020, virtual exhibitions became a powerful tool for museums and galleries to continue their public role and an excellent platform for artists to communicate their work to audiences. This paper examines how the viewer’s physical absence could add a factor to the loss of aesthetics and the experience of two-dimensional artworks when digitally delivered. The viewer’s body is analysed through philosophical theories of perception through movement as a contributing factor in experiencing two-dimensional artworks. The paper examines space, movement, and distance, which connect perception to one’s body in designing and delivering the most common 2D and 3D-360° virtual exhibition presentations. The paper examines participants’ interaction with the artworks based on recent research about how audiences experience online exhibitions during the pandemic. It discusses how the role of the viewer–visitor may change to that of just a user.
{"title":"Bodily Absence","authors":"Isidora Papadouli","doi":"10.54632/1305.impj4","DOIUrl":"https://doi.org/10.54632/1305.impj4","url":null,"abstract":"\u0000 \u0000 \u0000As restrictions due to the Covid-19 pandemic shaped a new reality in March 2020, virtual exhibitions became a powerful tool for museums and galleries to continue their public role and an excellent platform for artists to communicate their work to audiences. This paper examines how the viewer’s physical absence could add a factor to the loss of aesthetics and the experience of two-dimensional artworks when digitally delivered. The viewer’s body is analysed through philosophical theories of perception through movement as a contributing factor in experiencing two-dimensional artworks. The paper examines space, movement, and distance, which connect perception to one’s body in designing and delivering the most common 2D and 3D-360° virtual exhibition presentations. The paper examines participants’ interaction with the artworks based on recent research about how audiences experience online exhibitions during the pandemic. It discusses how the role of the viewer–visitor may change to that of just a user. \u0000 \u0000 \u0000","PeriodicalId":486968,"journal":{"name":"IMPACT Printmaking Journal","volume":"28 19","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140980138","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper aims to provide a critical and contextual analysis of research conducted together with Martin Smith at the Royal College of Art in the field of ceramic printmaking during 2015–2018, and the subsequent reflections upon the four years since as we have continued to implement the research as a commercial print studio. Over these seven years, I was a senior research associate on the two AHRC-funded research projects: Extending the Potential for the Digitally Printed Ceramic Surface and Improved Laser Printing Equipment for Ceramics, and design director for the spin-out ceramic design project, the print company Smith&Brown. Digital design, combined with electrophotographic laser printing technology, has the potential to open up new market models and extend the visual language of ceramic tableware design but it has hit several barriers causing it to be dismissed by the ceramic industry, weak deposits and poor colour saturation being the most significant of these. Our research has contributed to resolving these issues by developing several technical innovations. These improvements have convinced key players within the industry; however, other barriers to the acceptance/implementation of the technology remain. This has led us to question this context and revise our original aims for industrial uptake, and identify new models more appropriate to the exploration of the market for the uptake of our research findings.
{"title":"From Bureau to Micro-Industry","authors":"Steve Royston Brown","doi":"10.54632/1305.impj5","DOIUrl":"https://doi.org/10.54632/1305.impj5","url":null,"abstract":"\u0000 \u0000 \u0000This paper aims to provide a critical and contextual analysis of research conducted together with Martin Smith at the Royal College of Art in the field of ceramic printmaking during 2015–2018, and the subsequent reflections upon the four years since as we have continued to implement the research as a commercial print studio. Over these seven years, I was a senior research associate on the two AHRC-funded research projects: Extending the Potential for the Digitally Printed Ceramic Surface and Improved Laser Printing Equipment for Ceramics, and design director for the spin-out ceramic design project, the print company Smith&Brown. \u0000Digital design, combined with electrophotographic laser printing technology, has the potential to open up new market models and extend the visual language of ceramic tableware design but it has hit several barriers causing it to be dismissed by the ceramic industry, weak deposits and poor colour saturation being the most significant of these. Our research has contributed to resolving these issues by developing several technical innovations. These improvements have convinced key players within the industry; however, other barriers to the acceptance/implementation of the technology remain. This has led us to question this context and revise our original aims for industrial uptake, and identify new models more appropriate to the exploration of the market for the uptake of our research findings. \u0000 \u0000 \u0000","PeriodicalId":486968,"journal":{"name":"IMPACT Printmaking Journal","volume":"100 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140978303","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper explores themes around the performing body in terms of how it relates and responds to physical and emotional landscapes. It analyses key themes on identity, trauma, and the body as an archive while also looking at ways in which contemporary practices of using the body as a material can be understood as a gestural language to assist in the re-imagination of identities through the act of imprinting, marking, and performing.
{"title":"Body As Archive","authors":"Fungai Marima","doi":"10.54632/1305.impj6","DOIUrl":"https://doi.org/10.54632/1305.impj6","url":null,"abstract":"This paper explores themes around the performing body in terms of how it relates and responds to physical and emotional landscapes. It analyses key themes on identity, trauma, and the body as an archive while also looking at ways in which contemporary practices of using the body as a material can be understood as a gestural language to assist in the re-imagination of identities through the act of imprinting, marking, and performing.","PeriodicalId":486968,"journal":{"name":"IMPACT Printmaking Journal","volume":"16 11","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140981712","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper outlines and reflects upon a recent period of practice-based research into the human and more-than-human relationship at this critical time for life on Earth. Drawing on ideas from within the field of human trauma, which describe how remnants of traumatic experiences become trapped within the body as sensations, pain, processes, and cancers, completely cut off from the original experiences that contributed to their formation, the research was centred around the concept of Earth as an expressive archive of valuable information about the way it has been treated and related to. Like Van Der Kolk’s human body (Van Der Kolk, 2015), the Earth in this context “keeps the score”. Notions of extractivism, objectification and othering, along with ideas around ‘separation sickness’, describing the ‘cultural trauma’ of intergenerational disconnection from ourselves and the land (Rust, 2020), form the backdrop to the research. A variety of starting points fed into the work, impacting upon one another in rich, diverse, and complex ways. Printmaking processes were utilised throughout as both research tools and within more resolved works. The paper is a series of reflections, not necessarily chronological or complete, but rather a snapshot of key ideas, questions, processes, and directions.
在地球生命的这一关键时刻，本文概述并反思了最近一段时期对人类与 "超人类 "关系的实践研究。人类创伤领域描述了创伤经历的残余如何以感觉、疼痛、过程和癌症的形式被困在身体内，与导致其形成的原始经历完全隔绝。与 Van Der Kolk 的人体（Van Der Kolk，2015 年）一样，地球在这种情况下也 "记着账"。榨取主义、物化和他者化的概念，以及围绕 "分离病 "的观点，描述了代际之间与我们自己和土地脱节的 "文化创伤"（Rust，2020 年），构成了研究的背景。作品的出发点多种多样，以丰富、多样和复杂的方式相互影响。版画工艺在整个研究过程中都得到了应用，既是研究工具，也是更有决定性的作品。本文是一系列反思，不一定按时间顺序排列，也不一定完整，而是关键想法、问题、过程和方向的缩影。
{"title":"Staging Material Encounters","authors":"Helen Elizabeth Mann","doi":"10.54632/1305.impj15","DOIUrl":"https://doi.org/10.54632/1305.impj15","url":null,"abstract":"This paper outlines and reflects upon a recent period of practice-based research into the human and more-than-human relationship at this critical time for life on Earth. Drawing on ideas from within the field of human trauma, which describe how remnants of traumatic experiences become trapped within the body as sensations, pain, processes, and cancers, completely cut off from the original experiences that contributed to their formation, the research was centred around the concept of Earth as an expressive archive of valuable information about the way it has been treated and related to. Like Van Der Kolk’s human body (Van Der Kolk, 2015), the Earth in this context “keeps the score”. Notions of extractivism, objectification and othering, along with ideas around ‘separation sickness’, describing the ‘cultural trauma’ of intergenerational disconnection from ourselves and the land (Rust, 2020), form the backdrop to the research. \u0000A variety of starting points fed into the work, impacting upon one another in rich, diverse, and complex ways. Printmaking processes were utilised throughout as both research tools and within more resolved works. The paper is a series of reflections, not necessarily chronological or complete, but rather a snapshot of key ideas, questions, processes, and directions.","PeriodicalId":486968,"journal":{"name":"IMPACT Printmaking Journal","volume":"37 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140979163","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
For close to 30 years, my father worked for the Australian Navy. He was an electrician who installed and repaired the armament, radars and communication systems on battleships and submarines. It was a job he loved and was proud to do, something I as a surly teenager could not quite understand when dragged along to open days at the naval base at Garden Island on Sydney Harbour. He likes to share many stories about his time at Garden Island and jokes that by the time he retired, even the stones in the landscape knew who he was. One of these stories, a memory I ashamedly force him to recall, took place on the morning of 12 February 2009. I asked my father to tell me as much as he could remember about the event. This was the second time I heard the story from him: The first was the day it happened in 2009, and the second was now, 12 years later.
{"title":"Memory Flags","authors":"Judith Martinez Estrada","doi":"10.54632/1305.impj1","DOIUrl":"https://doi.org/10.54632/1305.impj1","url":null,"abstract":"\u0000\u0000\u0000For close to 30 years, my father worked for the Australian Navy. He was an electrician who installed and repaired the armament, radars and communication systems on battleships and submarines. It was a job he loved and was proud to do, something I as a surly teenager could not quite understand when dragged along to open days at the naval base at Garden Island on Sydney Harbour.\u0000He likes to share many stories about his time at Garden Island and jokes that by the time he retired, even the stones in the landscape knew who he was. One of these stories, a memory I ashamedly force him to recall, took place on the morning of 12 February 2009. I asked my father to tell me as much as he could remember about the event. This was the second time I heard the story from him: The first was the day it happened in 2009, and the second was now, 12 years later.\u0000\u0000\u0000","PeriodicalId":486968,"journal":{"name":"IMPACT Printmaking Journal","volume":"18 11","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140979549","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
‘Where are the cats?’ I asked Montse. COVID-19 hit Barcelona and closed the city’s borders. I drifted between libraries and a printing press. Early evening, a midwinter fog softened the stone corners. Suspended in silence, and free from the crowds that spilled out of cruise ships and cheap flights into the narrow streets of the Gothic quarters, the city lay waiting. Montse answered, ‘People are a bit squeamish about cats. They feel guilty. Cannot quite look cats in the eyes.’ He added, ‘Cats and dogs got eaten during the Spanish Civil War.’ Even after the Civil War, the threat to pets did not end. Spain starved acutely from 1936 to 1942, and then steadily until 1952. Franco’s officially sanctioned famine, named ‘the hunger years’, ensured that starvation was weaponised to stamp out rebellion and exhaust the population. To lay their hands on any kind of flesh, the starving poor stole dogs and cats. Carmen, a survivor, said, ‘Cats soon disappeared because they tasted like rabbits, and people just ate them. A donkey that belonged to a coal delivery company died, and it was cut up and sold for meat. Dogs were also passed off as lamb’ (Fanjul, 2015). While cats were cooked for dinner, men lay discarded, like drifting scraps of paper on the streets, starved to death.
{"title":"Scraps Of A Dying Chef","authors":"Bess Frimodig","doi":"10.54632/1305.impj13","DOIUrl":"https://doi.org/10.54632/1305.impj13","url":null,"abstract":"‘Where are the cats?’ I asked Montse. \u0000COVID-19 hit Barcelona and closed the city’s borders. I drifted between libraries and a printing press. Early evening, a midwinter fog softened the stone corners. Suspended in silence, and free from the crowds that spilled out of cruise ships and cheap flights into the narrow streets of the Gothic quarters, the city lay waiting. Montse answered, ‘People are a bit squeamish about cats. They feel guilty. Cannot quite look cats in the eyes.’ He added, ‘Cats and dogs got eaten during the Spanish Civil War.’ Even after the Civil War, the threat to pets did not end. Spain starved acutely from 1936 to 1942, and then steadily until 1952. Franco’s officially sanctioned famine, named ‘the hunger years’, ensured that starvation was weaponised to stamp out rebellion and exhaust the population. To lay their hands on any kind of flesh, the starving poor stole dogs and cats. Carmen, a survivor, said, ‘Cats soon disappeared because they tasted like rabbits, and people just ate them. A donkey that belonged to a coal delivery company died, and it was cut up and sold for meat. Dogs were also passed off as lamb’ (Fanjul, 2015). While cats were cooked for dinner, men lay discarded, like drifting scraps of paper on the streets, starved to death.","PeriodicalId":486968,"journal":{"name":"IMPACT Printmaking Journal","volume":"23 16","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140981666","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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