The Call of the Wild is Now a Cry For Help

Our approach to issue 9 of Printed Project has been to treat it very much as an exhibition in the mould of previous projects we have worked on together: keeping the written content to a minimum in order to make the publication prominently visual, and have the entire project artist led. We have opted to remove page numbers and limit credits and titles to the contents page in order to focus wholly on the work and the work as a whole.

From early on our intention with this issue was to consider different ways and means of engaging with histories: be they in terms of ones personal life or work or of a wider cultural and/or political scope.

We invited four artists to deliver individual ‘texts’, six artists to collaborate on three separate projects, and a further three artists to present solo projects. The aim of the ‘texts’ was to deal with particular and specific influences pertaining to each artist. We supported the idea that these be realised in a visual way that didn’t stray from the studio practice of the contributors.

Of the artists we invited to collaborate together, none had previously met. We purposefully clashed and complemented individual provenance to promote new ways of working without a pre-ordained sense of what a successful outcome may be. Some chose to literally work on top of the others artists’ work, while others opted for a call-and-response approach whereby new works were made in response to works sent.

The three solo presentations were somewhat different in that the invited artists were not given any guidelines in which to produce work. We felt they would, in terms of their respective practices, complement each other and the essence of the issue as a whole.

In the case of the cover and the dividing sections we chose to invite one artist to anchor and punctuate the whole exhibition.

As artists, we also wanted our issue of Printed Project to be considered as an artwork in its own right.

Declan Clarke and Paul McDevitt, Berlin, Dublin, London 2007/8