The Twenty-fifth Biennial of Graphic Arts continued its quest for new approaches tailored to the contemporary times, entrusting the selector’s baton to a single curator and seeing printmaking in the broadest sense of the word, as a “printed impression”. The main exhibition of contemporary graphic works was based on the significance of the multiplied image as a means of communication. The common feature of the exhibited works − artists’ books, newspapers and magazines, photocopies, art posters, newspaper interventions and projects, as well as art prints − was the fact that they documented the artists’ ideas about their realised or unrealised, past and future projects.
The curator of the Biennial Christophe Cherix (during the Biennial, the curator of the Graphic Arts Cabinet of the Museum of Art and History in Geneva) conceived the Biennial as a complex display including the main exhibition of contemporary graphic works, a documentary exhibition about the history of the Biennial of Graphic Arts from 1955 to 2003, prepared by Breda Škrjanec, and a symposium entitled The Producers on the relationship between publishers and artists, led by Lionel Bovier.
