Carolina Jozami | WCPF24

In recent years, international art institutions have increasingly focused on addressing colonial histories and amplifying marginalised voices in the global art system. Events like documenta Kassel (2022) and the São Paulo Biennial (2023) illustrate this shift, highlighting the democratic and collaborative nature of printmaking.

Documenta 15, led by Jakarta-based ruangrupa, featured initiatives like the ‘Lumbung of Publishers’ and the ‘Lumbung printing press project,’ fostering knowledge sharing and collective creation. Latin American participants, such as microutopias (Uruguay) and Cooperativa Cráter Invertido (Mexico), showcased printmaking’s potential for sociopolitical engagement.

The São Paulo Biennial (2023) further celebrated the medium with works like Francisco Toledo’s Papalotes de los desaparecidos (2014), commemorating 43 murdered students in Mexico. Historical contributions, including Jesús Ruiz Durand’s posters and Taller NN’s collective efforts, underscored printmaking’s enduring role in democratizing art and reshaping neglected narratives.