Go Block:

A manifesto of unconventional
printmaking from the context of
printmakers in Malaysia.
Go Block Vol. 7 is a continuation from a ‘nerve war’ directed to the public
towards an artistic practice which needs to be competitive in order to
spread a doctrine of understand that will spread wider or reach bigger
crowds to ensure the Sustainability of Printmaking in the world full of
potentials to fulfil the worldwide exploration objective.

1. Is another Go Block exhibition necessary?

What is the actual situation of printmaking art in Malaysia

which has led to Go Block’s multiple exhibitions being held
since more than a decade ago? I would like to highlight these
issues to the public:

Were the last six (6) series of Go Block exhibitions insufficient?

To me, this is not the matter of them being sufficient or not.
In fact, what matters most was the issue of resilience among
printmaking artists in Go Block to create a phenomenon for
local visual art industry. Even though some have perceived
printmaking art is benefitting from technicality and outcome
from other disciplines; but this is called an expansion of
understanding which is made limited by a term known as
“convention”. Go Block is offering an extension of meaning
again to printmaking which is of viewed from the process –
carving or cutting the surface of a block - roll off-set ink on
the surface of the block – printing on paper – repeat until add
editions are produced. By feeding the audience with non-
conventional printmaking, more questions will arise among
the audience with regard to understanding and exploring the
printmaking itself. Hence, Go Block must continue to have
exhibitions in the art industry to ensure the ‘doctrine’ which
is related to an expansive discipline of printmaking could
consistently reach the art society.
Is printmaking still relevant in visual art today? The conflict
in the struggle takes place when printmaking art is often
considered as a secondary discipline which is not dominant
and its technically difficult to be used in producing an
artwork. Such difficulty also includes the issues of facilities
which means printmaking art requires support to ensure its
sustainability (just as Chetak 17 did). Other than the society’s
dogma on printmaking art that claims it being static and
‘single ownership’ issue – which is deemed as inexistent in
conventional printmaking: printmaking needs to go forward
(actively) to remain relevant. These changes which are
happening closely resemble the issues which occurred in
the sculpture discipline – which originates from the Latin
word sculpture or ‘sculptura’ which means ‘to sculp’ or ‘to
shape with carving’. Changes in sculpture are now accepted
in many forms and techniques. Thus, Go Block is working on
making printmaking relevant with the changes of time.
Here, Go Block is willing to continuously attack the
community’s minds (artists or not) so that they continue
to think of printmaking art in their heart and mind; and
understand that printmaking has successfully expand its
territory!
2. Go Block Ideology: Understand ‘Their Soul’ First!
Go Block artists understand that human nature loves to play,
and this is the basis for their exhibitions which are full of
surprises. Such natural trait is owned by humans who always
want his activities to be playful and humans also play around
with values that they understand – this is also known as
Homo Ludens.
Printmaking artists who have been bounded by –
conventional laws; rigid technicalities; strict rules; during
the exhibition there are rules of framing and proofing that
must be obeyed. This has caused the printmaking artist to be
nicknamed as a ‘pious believer’ or ‘ahli ibadah yang bertakwa’
who completely adheres to the rules and regulations of
printmaking. Nevertheless, for careless or rebellious artists
– their artwork will be criticized as ‘this is not printmaking
work”. This does not include other punishments or sins (big
or small) which would be imposed on or given to them.
Go Block has different ideology than other collective
movements. As a well-organized platform which provides
‘validity’ to any new or different forms – to be categorized as
printmaking artwork! Go Block is able to help printmaking art
to ‘play’ with images, technicality, concept, idea and theme
that need to be produced. This is the platform on which the
artists unleash all the pressure of rules and static formation
in printmaking and move to the production of printmaking
artwork through ‘wild desire’ which ‘does not make sense’
about printmaking.
Because of that, Go Block artists have manifested the
spirit of playing in the printmaking artwork. This time,
(as an example which can be related to Go Block Vol. 7),
Juhari Said in collaboration with Masnor had teased and
tricked his artistic persona for all of us through his artwork
entitled “Katak Tua Hendak Jadi Lembu”!. The homo ludens
character from its descendants had been shown through
political issues which were expressed through idioms. True!
‘Katak Hendak Jadi Lembu’ is a proverb. But in ‘visual art’,
when we say ‘Katak Hendak Jadi Lembu’… who do we have
in mind? Which art discipline is related to this? Juhari Said
had played with an iconic ‘symbol’ – and surely the public will
remember ‘Katak Hendak Jadi Lembu’ with Juhari Said as
well as the printmaking discipline. Juhari was cheeky and the
form of his printmaking artwork provided something to tease
the public’s understanding! Making use of to the printmaking
‘language’ is ‘transfer’; so, Juhari Said has transferred the
understanding of ‘textual proverb’ to ‘two-dimensional visual
printmaking’ ‘Katak Hendak Jadi Lembu’; and now, Juhari has
transferred his ‘two-dimensional visual printmaking’ to ‘three
dimensional visual’ – which is sculptural work. If we look
at ‘Katak Tua Hendak Jadi Lembu’ as print; it represented
his arrangement of his print collage. Juhari is playing with
an iconic artwork with printmaking art – even though this
time he does not produce a complete printmaking artwork.
Perhaps at the same time, Juhari is being playful with us so
that we have to enhance the way we think about printmaking.
This is not the issue of definition and concept of printmaking
in tangible discussion; on the other hand, it has touched the
intangible discussion.
Therefore, by understanding the meaning of dualism in
printmaking from the aspect of conventional and non-
conventional, we will be able to understand Go Block
has become significant to them. It is not that they are not
passionate about the conventional printmaking (they are the
real figures and practitioners in conventional printmaking),
but they desire to bring development into this discipline.
3. A Struggle!
If we ‘accuse’ Go Block as a new movement which is trying
to make some changes, uphold and develop the printmaking
art discipline – surely this is an inaccurate claim! Go Block
has been working on it all this while! Since 2009, as a result
from sustaining the printmaking discipline through teary
discussions among Juhari Said and Badrulhisham Tahir
(Petronas Gallery Curator at that time), the word ‘Go Block’
had been chosen to become an important “nomenclator”
the nation’s history of printmaking.
Go Block has offered us six (6) series of meaningful,
significant exhibition (now it is the seventh); delivered by a
line of artists who are chosen to convey the mature agenda
of “the politics of rejuvenation” as well as bring extraordinary
intellectual values towards the discipline of printmaking!
Go Block exhibitions which were held previously were Go
Block: 5 Contemporary Malaysian Printmakers, at Galeri
Petronas, KLCC (2009); Go Block, at Penang town (2010);
Go Block: Potilombus Wayahinik Pinogumu (The Expanded
Contemporary Printmaking), at Galeri G13, Kelana Jaya
(2018); Wabak Go Block: The Expanded Contemporary
Printmaking, at Galeri G13, Kelana Jaya (2020); Go Block
Vol 5: Contemporary Expanded Printmaking Residency
Project,at Galeri G13, Kelana Jaya (2022); and Go Block:
Senibuku, at Galeri Cult, Kuala Lumpur (2023).
This effort is a continuation from the artist’s way of thinking
which desires changes in upholding the printmaking
discipline. Through other exhibitions, before and after
Go Block was formed, they became the main link to a set
of thinking to produce ‘non-conventional printmaking’ in
Malaysia. One of them was an exhibition named ‘Okir’ at Wei-
Ling Gallery, Kuala Lumpur in 2007 and ‘Samudra’exhibition
at Muzium and Galeri Tuanku Fauziah, USM (a continuation
from ‘Okir’ while being the Artist-in-Residence di USM –
Samudra exhibition took place after Go Block was held at
Petronas Gallery) in 2009 by Juhari Said; and Alternative
Printmaking exhibition at Petronas Gallery in 1995 which was
organized by its visiting curator, Ponirin Amin. Going back
to the early history of printmaking in Malaysia, this pattern
of thoughts had been highlighted through an artwork ‘Alibi
Catur di Pulau Bidong’ by Ponirin Amin which won the Main
Prize, “Bakat Muda Sezaman” in 1980.
If we reflect on foreign art history, Andy Warhol was the
artist who challenged our understanding of visual culture
in printmaking – through his artwork Campbell’s Soup Cans
(1962) and Marilyn Diptych (1962) (just to name a few). He
upheld the pop art culture through various techniques
including the serigraphy printing; he was not concerned
about the convention which was repeatedly mentioned in
the discourse of printmaking (matters like proofing, edition,
framing, and others). Andy Warhol brought an attempt to
use technical adoption to convey a story and meaning in
his artwork; and he had ignored the principle, concept, and
convention of printmaking art. What was the actual struggle
that Andy Warhol went through in relation to printmaking
discipline? Did he uphold the ‘issue’ and ‘images’ of pop
art culture – that was to celebrate popular images?; or did
he really introduce / focus on / celebrate printmaking?
We clearly understand that Andy Warhol was actually
celebrating popular image!.. Amazingly, he has used medium
and technicality in serigraphy printmaking. Upon closer
inspection, the function of printmaking to Andy Warhol
was to be used as a medium to convey message fast and
successfully to the audience. Yes, Andy Warhol ignored rigid
procedures and portrayed his artwork without any remorse –
he had shown his effort to widen the potential of printmaking
which was bogged down by various rules and regulations.
4. Go Block: An Idea!
“Go Block artists’ idea is to expand various unconventional
technical and tangible exploration; by sustaining the
existing ‘language’ which is related to the principles,
concept, and spirit in printmaking art itself.”
I would like to emphasize that the variation in practices and
shifts in the thinking paradigm in Malaysian printmaking has
been nurtured and flourished in the artists. Nevertheless,
struggling ‘alone’ or working in silos has caused the ideas to
expand the potential for artwork to become lagged behind.
On the other hand, this movement has been growing
exponentially abroad through the aspect of art practice and
academic discussions.
Studio discussions and practices in universities have long
contributed to the ‘conventional’ way of thinking and the
‘unconventional’ in printmaking. However, they become
lackluster since the discourse has not been getting a lot
of attention in the industrial practice (in UiTM and most
other institutions which provide Printmaking courses – the
practice is conventional printmaking for the diploma level or
Diploma in Fine Art; and the unconventional printmaking is
introduced at the bachelor study level or Bachelor in Fine
Art). Go Block has developed in line with the art industry, and
the ‘conventional printmaking’ continues to be celebrated
– it’s challenges are represented through ‘Chetak 17’ (also
formerly known as Chetak 12); and passion had pushed the
boundary or there were efforts to expand the ‘conventional
concept’ through the ‘Go Block’ movement which functions
as the ‘nerve war’ that was related to matters pertaining to
unconventional printmaking practice.
Based on the interview sessions with Juhari Said (founder
of Go Block ideas), he was more interested in discussing
the principle, concept, and spirit in printmaking from the
perspective of traditional, modern, and contemporary
timelines. By looking at traditional practices of reapplying or
‘terap ulang’ which is observed among cake (kuih) makers,
people who produce handicrafts, and many others; Juhari
Said believed that the principle and concept of printmaking
art has always thrived among the local community. Juhari
completely understands the modern printmaking framework
which becomes the basis of Go Block way of thinking; the
basis for his trust on the concept of ‘terap ulang’ through
traditional timeline; conventional printmaking art through
modern timeline; and the value of exploration through
contemporary or unconventional timeline; this goes beyond
the conventional principle but maintaining the ‘language’ of
printmaking itself.
Today, Go Block is not only known as a platform for ‘group
exhibition’, but it has also become an ‘institution’ which plans
to develop and enhance the printmaking discipline which
has often been regarded as rigid:
1. Uphold the traditional printmaking – matters related
to local community activity and culture which are
related to the concept of ‘terap ulang’.
2. Continue to encourage ‘conventional’ printmaking art
activities through workshops, talks, and exhibitions.
3. From ‘conventional’ printmaking to ‘unconventional’
printmaking which is explorative in nature (also known
as expanded printmaking, extended printmaking, or
alternative printmaking).
5. Go Block Artists Understand and Appreciate
the Ideas of Conventional Printmaking
Understanding the ideas of printmaking discipline is one of
the basic foundation in becoming a printmaking artist. It is
crucial to assist the artist to explore and experiment new
potentials in producing artwork for exhibition since they
would carry added values to be discussed by the public.
To understand printmaking art, Michel Melot has provided its
definition as “…the term ‘print’ conveys the idea of impressing
a design or image, of transferring it from one surface to
another…”. Based on the explanation of the term ‘print’, I
would humbly link it to four (4) main categories namely:
Four (4) significant categories have become the foundation to
printmaking artists in the area of ‘conventional printmaking’
for the purpose of exploration activities whether the
printmaking approach is – ‘expanded’ or/and ‘extended’ or/and
‘alternative’; or I would prefer to use the term unconventional.
Explanation of categories through the definitions are:
1. Image or Design
• Design or image or idea that is produced by the artist
for the purpose of producing printmaking artwork.
2. Block or Matrix
• Block or also known as matrix is the phase of storing
information of design, image or idea which becomes
the form or concept to the ‘transfer’ process to
produce printmaking artwork or its by product. There
is also the concept of ‘mirror image’ in producing the
printmaking block or matrix.
3. Language of Printmaking
• Printmaking language in the production of artwork is
the process and concept of ‘transferring’ or ‘transfer’
or ‘maintaining the form’.
4. By Product
• The product of printing or the process of ‘transferring’
made. In printmaking, the printing product or by
product is an important matter to produce the
formation of block or matrix.
By understanding the definition of printmaking, a new league
of exploration can be formed. In addition, the numerous
ways of producing printmaking artwork are internalized by
the Go Block artists in each stage of the basic process of
conventional printmaking to the production of the artwork.
Such understanding must become the belief behind the
artist’s expansion of ideas to form something new:
Figure 1:
Basic Process in producing conventional printmaking art.
The basic process in Figure 1 is part of the normal practice
carried out by the conventional printmaking artists. It is
a process of a full cycle of printmaking artwork that is
produced (except bookmaking – this depends on the artist’s
choices). This is the process which has been deemed as
rigid and static in the practice of conventional printmaking
– it leads to a dogma that the conventional printmaking
cannot stray from the matters explained here. If the artist
does not conform to this convention, they are considered
as not producing any printmaking material. Based on the
discussion with Go Block artists, it is apparent that such is
the way they think about printmaking.
6. Go Block artists’ intelligent approach in Exploring
Conventional Printmaking Art: A Memorandum to
Expand Meaning Towards Unconventional Practice of
Printmaking Art
There are many efforts in highlighting the potentials of
conventional printmaking art that has been given an
expansion in meaning. Go Block artist explorations had
already focused only on a certain stage of the production
in the previous series of exhibitions. Block or matrix
and the printmaking by products which were outside of
the conventional printing discipline were produced and
exhibited at Go Block exhibitions were:
1. Casting technique as block in producing the
printmaking art by Juhari Said, Shahrul Jamili Miskon,
Kim Ng, Faizal Suhif.
2. Printmaking Installation by Zulkifli Yusof
3. Time as the block concept in the printmaking artwork
by Shahrul Jamili Miskon.
4. Folding technique as block and ‘origami’ as by
product in the artwork of Faizal Suhif.
5. Fingerprints as block in the printmaking artwork of
Shahrul Jamili Miskon.
6. Loop and repeat video as block and its principle of
repetition in the artwork of Samsudin Wahab.
7. Steel plate which was etched with acid as a by
product of Sharul Jamili Miskon.
8. Book art as the by product of printmaking artwork by
Go Block artists Vol 6.
9. MRI image / film as the by product of printmaking
artwork by Shahrul Jamili Miskon.
10. Paper pulp as the by product to the printmaking
artwork of Awang Damit Ahmad.
11. And many others (not limited to the examples shared
here).
The exploration to expand meaning in the series of Go Block
exhibitions is like a ‘visual memorandum’ for its potential
changes. This ‘Memorandum’ means that ‘memo, atau
dokumen bertulis yang digunakan untuk berkomunikasi di
dalam sebuah organisasi atau antara individu dalam konteks
professional dan kebiasaannya digunakan untuk tujuan yang
rasmi dan berbentuk ringkas’ (memo or written document
which is used to communicate in an organisation or among
individuals in the professional context and it is usually
used for official purposes and contains brief messages). In
Go Block, its artists had professionally delivered a ‘visual
memorandum’ to the public and challenges the way they
think through the philosophy, concept and meaning to
continuously expand the discourse in printmaking.
7. An Unconventional Printmaking Manifesto
by Go Block Artists
To understand the concept of ‘manifesto’, printmaking
cannot avoid from the need to own it. The objective behind
the production of this manifesto is to determine the actual
function of ‘unconventional printmaking’ as introduced
by Go Block for some time can be clearly focused on and
understood by many. Go Block Manifesto is a document
which comprises of a collection of printmaking artists’
thoughts for 7 series of Go Block exhibitions since 2007.
Based on the exploration from the perspective of an
intellectual discourse in each of the exhibition, it has
become a responsibility to produce a printmaking art
‘manifesto’ which has been tested to the public and has
also been formally or non-formally discussed by the
academicians. Writing this manifesto is not considered as
too early since this is not the first of the series of Go Block
Exhibition; the exhibition is the seventh series (7). It is an
exhibition which is systematically organized and brimming
with continuous experimental as well explorational values.
Go Block is committed to state that:
 Manifesto of Unconventional Printmaking Art
Go Block, advocates of unconventional printmaking; also
known as expanded printmaking)/ extended printmaking/
alternative printmaking), is now at the congregation
of traditional, modern, contemporary, and numerous
innovations. Go Block celebrate the passion in experiments,
freedom of expression, and other possibilities which occur
when artists challenge the norms of existing printmaking art.
This Manifesto is the testament of Go Block dedication to
redefine printmaking art. Hence, Unconventional Printmaking
Art for Go Block is:
1. Accepting Varieties and Explorations
In unconventional printmaking, Go Block accepts
various perspectives and encourages the artists
to explore other fields. We celebrate the unity of
traditional and advanced techniques and even a
concept; we invite artists to free themselves from the
limitations of conventional printmaking art.
2. Avoid Limited Edition
Unconventional printmaking artists have the right
to challenge the idea of limited edition. Go Block
believes that each print is a unique artwork and
accepts the idea that mass production does not
determine the value of the artwork; it might reduce
it. Go Block printmaking artist produce beyond the
limitation of numbers.
3. Using Daily Objects
Go Block perceives our surrounding as the source
of printing inspiration and it is not conventional.
Everything from the waste to the landscape in town
has something to offer for the creation of art. Go
Block strives to rejuvenate forgotten objects and
spaces.
4. Technology as the Drive
Unconventional printmaking artists have the right
to use the technology. Go Block encourages artists
to use digital tools, 3d printing and unconventional
mediums to explore the boundary of printmaking.
Technology is a friend to Go Block, not a foe.
5. Perfection in Art
Perfection is not our objective. We celebrate
accidental effect, unexpected product and
‘imperfections’ which appear in the process of
printing. Each flaw has its own unique story.
6. Sustainable Creation
Go Block understands the importance of nature
and strive to apply sustainability in artwork.
Unconventional printmaking artists strive to reduce
wasting, practice recycling, and reduce carbon
footprints for the environment.
7. Exploring Concept and Context
For Go Block, printmaking art is a platform to
narrate a story, provide social comments and explore
concepts. Go Block encourages the artists to give
deeper meaning to their printing, carry out dialogues
and reflections.
8. Variety of Ideas and Collaborations
Collaboration is the actual essence of unconventional
printmaking art. Go Block needs to move forward,
and it encourages exchange of ideas and techniques
which transcends boundary and limitations as well
as nurture the community of artists to share similar
views.
9. Printing as the Beginning
It perceives printing not as the end to an artwork
but the beginning of creativity. Printing is able to
functions as the basis to the production of art, form
presentation and installation, and produce artwork
with various disciplines: all these is to expand the
possibility for creative expressions among the Go
Block artists.
 10. Temporary and Permeant
Unconventional printmaking artwork exist today and
remain until the end of tome. Go Block celebrate the
temporary nature of their work while creating prints
which will prevail.
Hence: In the spirit of this unconventional
printmaking, Go Block challenges, innovates, and
redefine all possible boundaries. This manifesto is a
call to all artists around the world to come together
and collaborate with Go Block to embark on an
interesting journey to penetrate the limits, change
the world view, and create artwork which transcends
the convention. At the same time, we bring forth the
tradition, talk about humanity, and remain in tangent
with the development of current technology.
8. Conclusion and Hope for a Progressive Go Block
In principles, Go Block has started its movement and is also
working on ideas for contemporary printmaking art through
the ‘unconventional’ path which highlights the character
and concept in conventional printmaking discipline. To
summarize this discussion:
“Go Block printmaking artists have successfully
explored significant and new potential changes
through ‘printmaking discourse’ that they understand;”
For Samsudin Wahab, explaining each aspect of exploration
in Go Block, requires a collective effort that is thematic at
each Go Block exhibition. Case study of Senibuku exhibition
at Cult Gallery proves that it was a success when the team
was given a thematic exploration platform on which the
artists worked collectively among them. The artist sacrifice
personal idea for ‘exploration persona’ about the “book art
theme” itself. Six (6) previous exploration series of Go Block
can be restructured; written by the authors on focused
themes; systematically disseminated; and after (7) or eight
(8) series, Go Block will have exhibited, discussed, and
create a new phenomenon for printmaking art in this area.
In addition, the issue that needs reflection is, what is the
actual responsibility of the ‘artist’ after the ‘printmaking art’
discipline has successfully been expanded? Just like before,
as envisioned by Dr Azlan – we have to brace ourselves to
understand and progress forward to face the actual function
of this medium that is:
“Printmaking must be the important platform as
the general dissemination medium and ‘nerve
war’ to the public in dealing with issues which are
related to the matter of beauty, divinity, climate
change, politics, social, culture, religion, economy,
patriotism, psychology, and anything else for that
matter. Printmaking is responsible to become a
tool to change the public’s motivation and drive on
any issue that is brought up. Today, it is also the
responsibility of the printmaking artists to record
memories, ignite passion and the drive, criticize the
public, and later share the intellectual doctrine and
upholds the wonders of ideas and thoughts to move
forward.”
Something that completely amazes me, Go Block would like
to shoulder this responsibility as an artist through a discipline
called “Printmaking”!
Ishak Ramli, Ph.D
Kolej Pengajian Seni Kreatif
UiTM Cawangan Perak
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 AZRIN MOHD
+6 012 215 3071
azrin@galeriputeh.com

DZUR FAZREEN
+6 011 6976 7310
dzur@galeriputeh.com

Published by
Galeri Puteh Art Management
L3-01, Level 3, INC Eco City Mall
No.3, Jalan Bangsar, 59200 Kuala Lumpur.
Tel: +60 3 2201 1922

Team GALERI PUTEH

Nizam Rahmat
Mimie Abdullah
Azrin Mohd
Dzur Fazreen

This catalogue is in conjunction with

GO BLOCK VOL 7: The Contemporary
Expanded Printmaking Exhibition
from 18 Oct - 12 Nov 202 at GALERI PUTEH

Copyright C 2023 Galeri Puteh Art Management

All rights reserved. No part of this book may be replaced

or transmitted in any form or by any means, electric or
mechanical, including photography, recording or any
prior consent from the artist(s) and publisher.