In a world, in a society in which we are all defending the united communitary distribution of goods, if we leave aside political and economic goods – because they seem, for the moment, the most difficult to attain, despite the recognition of so many equalities and fraternities that are proclaimed –, those other goods that are more obtainable by man and which he also needs as much as the first ones, are cultural goods. The book has been the great distributor, but almost simultaneously with the book, appeared, at the beginning of the first real commotion of consciousness, the print, that which permits one to reproduce a given form with no distortion, no matter how many times the images are repeated. This makes possible their transmission and diffusion among all who feel the necessity of possessing and studying them.
The print, first on a plate, later on stone, then on a silk screen and, with the implantation of technology in the means of reproduction – without losing, nevertheless, the aura whose lack was lamented by Walter Benjamin – on any support at all, including, up to now, electronic supports, this image in series in its widest variety and variations, needed someone to take it up and also to infuse it with that spirit of communicative and creative community and solidarity for which the international society of men and women so strives. On this occasion, we must admit, it is a bit restricted because we want it expressly limited to the artists, to those who, when working, also manifest and express their way of being, and certainly, in this case, the procedure and medium chosen permits this, because in spite of the fact that it consists of reproducing an image in an infinite series, this given image never is the strict image born of industrial design which only needs to function and not also stir us emotionally as should all works of art.
This is what Pascual Fort promoted, moved by the process of printmaking and by the creation of the image intended to be offered as a print. But for whatever reason – for economic questions, to facilitate the crossing of political barriers, to avoid excessive commitment, excessive work as a consequence or result of amiability or the friendship of the artists – wishing to unite all the creators of the world, he thought that the print would achieve this, would make it possible, would permit some to reveal themselves and give themselves over to others.
Thus was born the Mini Print, a small print about 10cm x 10cm on a support of 18cm x 18cm, where everyone can participate, with the only condition that the image be serial and have the desire to be contemplated, experienced and, if necessary, possessed.
The print allows this. The Mini Print, which is now gathered in Cadaqués, the place of affection and withdrawal chosen by Marcel Duchamp, where modern art, through its artists, was created, grew and developed and where the heirs of Pascual Fort – it could not be otherwise – maintain it alive and in expansion.
Mercedes Barberà Rusiñol Director of the Mini Print International of Cadaques
The nineteenth Mini Print International of Cadaqués, 1999, was characterized by the high technical and artistic level of the exhibited works which maintain, if not surpass, the quality of past years.
During the months of July, August and September, the many visits to Taller Galeria Fort of participating artists from Spain, England, Germany, France, Portugal, Denmark, Sweden, Norway, Italy, the United States of America, India and Canada was surprising and their praise, congratulations and good wishes for the continuity of the Mini Print was, for us, a reason for great satisfaction, optimism and gratitude.
The solo exhibitions of the previous year’s winners has been one more incentive to visit the Mini Print. The visits of the artists on the opening day of their respective exhibitions made possible the interchange of technical and cultural information among each other and with us.
This year Noboru Swai of Canada and Marie Christine Dargent of France acted as jurors and spent several days with us in Cadaqués leaving the memory of their knowledge, sympathy and friendship. Francesc Todó, painter and John Brunton, photographer, were also kind enough to act as jurors.
During the months of May, June and July the exhibition travelled, as it does every year, to the «Wingfield Festival of Arts and Music» in England. This year there was a beatiful exhibition space, «Gallery I», dedicated exclusively to showing the 747 works that composed the show.
The success of the exhibition surpassed all expectations. Ian Chance, Director of the «Wingfield Festival», accompanied by his wife Hilary and daughter Alice spent several days in August with us as he does every year. He explained to us the great interest that the Mini Print evokes in England, not only among the numerous visitors but also among the communication media (press, radio and television). All this interest has caused the Wingfield exhibition to take root in England.
As in previous years the Mini Print could also be seen in the Gallery «L’Etangd’Art» in Bages, France. The resonance that it awakens in the south of France is constantly increasing thanks to the dedication of the gallery’s enthusiastic director Sophie Cassard.
We express our gratitude to the Ministry of Education and Culture of the Spanish Government and to the Catalan Government for supporting the exhibition of the Mini Print by subsidies that help us send out the participation regulations and pay part of the catalog costs.
We are already working on the preparation for the next edition of the exhibition which has the excitement of being that of the year 2000. We hope to continue full of enthusiasm for at least another decade.
As always we are counting on the future participation of artist printmakers who, with their beautiful prints have for many years made possible the diffusion of the art of the print through the annual Mini Print International of Cadaqués and who, with their good work, have been able to sensitize and win over people from around the world.