Multiplied is the UK’s only fair devoted exclusively to contemporary art in editions. Hosted annually by Christie’s South Kensington it takes place during Frieze week and offers a rich programme of talks and workshops for art lovers and connoisseurs alike. The fair encompasses print, digital art and multiples, artist’s books and photographs, reflecting the whole spectrum of contemporary publishing, from established galleries representing high profile artists to start-up spaces and artists’ collectives. Multiplied offers an exclusive opportunity to both art lovers beginning a new collection and more established collectors looking for something unique.
Oct 17, 9am – 7pm
Oct 18, 11am – 7pm
Oct 19, 11am – 6pm
Oct 20, 9am – 5pm
Admission to Multiplied is free.
VISITING THE FAIR Situated in the heart of London, Multiplied is easily accessible from all the major galleries in Mayfair as well as Frieze Art Fair in Regent’s Park.
FAIR LOCATION Christie’s South Kensington
85 Old Brompton Road
London SW7 3LD
HOW TO GET HERE By tube: South Kensington
By bus: 74, 414, 14, 345, C1
Multiplied is proud to support both new and established galleries, publishers, artists’ collectives and not-for-profits from across the global art scene. This year’s edition of the fair will present over 40 exhibitors showcasing a range of contemporary prints, photography, multiples and artist’s books. The fair will also present works by recent graduates from London’s leading Arts Universities.
View the Multiplied 2014 Gallery Guide >
McLean's Artist Malts Stand 28
Laure Prouvost, Ideally This Will Make You Forget, 2014
Modern Art Oxford Stand 34
David Goldblatt, Saturday Morning at the Corner of Commissioner and Trichardts Streets, Boksburg, April 1979, 2003
Parasol unit foundation for contemporary art Stand 40
Shezad Dawood, Colour Theory, 2014
Paul Stolper Gallery Stand 3
Jimmy Cauty, Smiley Riot Shield, 2014
Rabley Contemporary Stand 32
Sara Lee, At the High Ground 5/30
Galerie Alex Daniels - Reflex Amsterdam Stand 4
Harland Miller, Wherever You Are Whatever You're Doing This One's For You, 2013
René Schmitt Druckgraphik Stand 23
Rose Wylie, Untitled, 2014
Robert Blackburn Printmaking Workshop Stand 41
Chakaia Booker, Untitled (CB.7.13), 2013
This year Multiplied is pleased to announce a programme of Live Printing hosted by exhibitors CFPR Editions and Rabley Contemporary. Located in Room 6 at the fair, the two studios will form a dialogue between traditional printmaking methods and 3D printing techniques in a series of displays, talks and demonstrations.
Marlborough-based Rabley Contemporary will be creating a ‘live printing studio’ giving daily demonstrations of monotype, intaglio and woodcut techniques with their Artist in Residence Nik Pollard, artist Sarah Lee and Eileen Cooper RA.
FRIDAY 17 Nik Pollard and Rabley’s studio printmaker Amy-Jane Blackhall will be working with monotype and intaglio
SATURDAY 18 Japanese ukiyo-e woodblock printing with Sara Lee
SUNDAY 19 Printing a new relief print with Eileen Cooper RA
Nik Preparing Colours for 'Broad Bodied Chaser', Courtesy of Rabley Contemporary, Marlborough
Bristol based CFPR Editions will be presenting a programme of talks and demonstrations based on their work with new print technologies including 3D printing and 3D printed ceramics.
FRIDAY 17 - 11:00am ‘3D Printing for artists and designers’ by Prof Steve Hoskins,
SATURDAY 18 - 2:00pm ‘3D Printed Ceramics’ by Dave Huson
SUNDAY 19 - 2:00pm ‘Free foam approach/wider uses of 3D printing’ by Paul O’ Dowd & Steve Hoskins
Hand Must Mind Must Work, 2014
This selection of works is drawn from key works in the extensive Printmaking Archive which forms one of the most substantial resources in the RCA Special Collections. The resource comprises work by students from the early 1960s (when systematic collecting began) to the present day with some earlier prints from the 1890s. It also houses editioned prints made in the workshops as part of the Printmaking Appeal Fund, a fundraising initiative formalised by Alistair Grant in the 1980s.
Within print the use of archives and documents as sources and substances for art practice is widespread. We are delighted that the interest of the Christies Education students has led to this chance to revisit some aspects of our archive.
Reactivating the archive through display or by making work in response to it allows the works to circulate in new ways. In 2011 the graduating students, staff and invited guests made prints on a Shakespeare related theme in response to a set of lithographs made in 1961. These were shown in Stratford-upon-Avon to mark the opening of the new RSC theatre.
Included in the show are prints made by artists by the RCA as donations to the appeal fund. The most recent print by Mark Titchner will be launched at the show and also enter our archive. Publications including artists’ books, catalogues and the programme’s own publications alongside correspondence will form part of the display and show a small fragment of the accumulated riches of this unique archive which maps shifts in educational, technical, and collaborative aspects of the printed multiple.
Professor Jo Stockham
Head of Programme, Printmaking
Royal College of Art
Children’s Story, from the book, A Practical Guide to Unconscious Reasoning
digital pigment print, 2014, on 100% cotton rag paper
co-published by Create/Book Works
460 x 650 mm.
Multiplied’s affiliated charity partner, Create London, is delighted to be raffling Children’s Story, a signed and annotated limited edition print by artist Marcus Coates.
Coates was awarded the 2013 Create Art Award to develop School of the Imagination. The project took the form of a course exploring the imagination as a tool for helping others. Through a programme of workshops, participants from across east London came together to learn techniques gleaned from ritual, theatre, therapeutic and pedagogical methodologies.
Children’s Story is an illustration from Coates’ new publication UR.... A Practical Guide to Unconscious Reason, which aims to share the techniques explored through the project.
Tickets are £10 and can be purchased from the Create stand at Multiplied or online at createlondon.org/about-us/shop/. All proceeds will benefit Create’s charitable activities in east London.
FRIDAY 17 - 4:30pm Yinka Shonibare MBE in conversation with Iwona Maria Blazwick OBE, Director, Whitechapel Gallery
SATURDAY 18 - 12:00pm Sir Peter Blake RA in conversation with Alastair Sooke
3:30pm Performing Print, Bringing the RCA archive alive - Professor Jo Stockham
SUNDAY 19 - 12:00pm Marcus Coates in conversation with Gavin Everall, Editor, Book Works
MONDAY 20 - 2:30–3:30pm Horst: A Photographer of Style – V&A curator Susanna Brown explains the processes of creating this major exhibition and provides an insight into the key themes of the show and stories behind Horst’s most iconic images.
Numbers limited. Booking required. Contact email@example.com to reserve a space.
Multiplied Art Fair is delighted to announced this year's affiliated charity Create London:
Create exists to explore the ways artists can contribute to the lives of people in cities. We help artists to connect more closely with communities through an ambitious programme of projects.
Our work is primarily focused in east London, home to more artists and art organisations than anywhere in Europe, and one of the most economically deprived parts of the UK.
We commission art anywhere. Unlike a gallery or theatre we have no fixed public space, preferring to work in the places people encounter every day. Working collaboratively informs everything we do and our projects are driven by artists, issues and places.
Over the last six years we have produced a number of large-scale public installations including a cinema in a disused undercroft on the A12 motorway; helped to unlock people’s ability to solve community problems and think creatively through the School of the Imagination by Marcus Coates; and commissioned almost 100 artists to deliver some the most ambitious projects of their careers.
Discover more of what we do at createlondon.org
Hadrian Garrard, Director
3D Printing - A method used for the manufacture of a three dimensional object from a design or a scanned object through ‘additive processes’. An industrial robot builds up layer after layer of the chosen material in order to make a complete form.
Aquatint - An intaglio process in which tone is created by treating a plate with fine particles of acid-resistant material (like powdered resin) and then placing the plate in an acid bath. The acid bites into the plate between the grains of resin and, when printed, the mass of tiny spots produces a textured area with tonal effects similar to watercolour wash.
Artist's Proof - Impressions printed especially for the artist and excluded from the numbering of an edition, but exactly like the editioned prints in every other respect. Usually appears as ‘A.P.’
Chine Appliqué/Chine Collé - A method of adhering a thin paper, sometimes of a different colour or texture, onto a larger, heavier sheet during the printing process using glue or water to dampen and coat the papers.
Digital Print - A method of printing a digital image, usually with a laser or inkjet printer.
Drypoint - An intaglio process in which a plate is marked or incised directly with a needle. The drypoint line can look very much like an etched line but is usually lighter.
Edition - The total number of impressions pulled off a single image or a set of images from the same matrix. To this number the artist usually authorises the addition of a small number of artist’s, printer’s, publisher’s and other proofs.
Embossing - A process used to create a raised surface or raised element, but printed without ink.
Engraving - An intaglio process in which a plate is marked or incised directly with a burin or other metal-marking tool. No acid is used in this process since the design is dug out by hand. An engraved line can range from very deep and wide, to lighter and thinner and is often characterised by a pointed end signalling the exit of the ‘v’ shaped burin from the metal.
Etching - An intaglio process in which a plate is treated with an acid-resistant ground. The artist then draws through the ground with various tools to expose the metal. The plate is then immersed in an acid bath where the acid ‘bites’ or chemically dissolves the exposed lines. The metal plate is therefore ‘carved’ or ‘etched’ by the acid rather than by a tool directly in the metal.
Heliogravure - A method of making a photo-etched or photogravure plate using an aquatint texture directly on the plate to create tone.
Intaglio - All matrices which have either been cut into or ‘bitten’ into. The resulting ‘dug out’ lines are printed. Intaglio processes include etching, aquatint, engraving, mezzotint and metal engravings, among others.
Linocut - A relief process, like a woodcut, where the artist carves the design out of the linoleum or linoleum mounted onto wood. What remains is printed, rather than what is cut away.
Lithography - A planographic printing process where a drawing is made directly on a stone or other smooth matrix with greasy materials such as lithographic crayon. The surface is then dampened with water which is repelled by the greasy areas. The surface is then rolled with greasy printing ink which adheres only to the greasy areas and is itself repelled by the areas which have water. The drawn image is then printed.
Matrix - The base from which the print is made. This can be anything – a metal plate or lithographic stone, a potato or vinyl record, a stencil – anything from which you can print.
Mezzotint - An intaglio method in which the entire surface of the plate is roughened by a spiked tool (‘rocker’) so that, if inked, the entire plate would print in solid black. The artist then works from ‘black’ to ‘white’ by scraping (or burnishing) out areas to produce lighter tones.
Monotype - A unique image printed from an unworked, smooth, metal or glass surface painted in ink by the artist.
Monoprint - A print which has as its base an etching, lithograph or woodcut and which is then uniquely altered by monotype colouring, unique inking or choices in paper colour.
Offset Printing - Method of printing in which the inked image from a lithographic stone, a metal plate or other matrix is first transferred to an intermediary such as a rubber cylinder or blanket and then to paper, thus creating an image in the same direction as the original (as opposed to the reversed image achieved by traditional methods of printing).
Photo-etching/Photogravure - A transparency of a photograph is made on glass from the negative of the original photograph. Through chemical processes, the transparency is transferred to and etched into a copper engraving plate.
Photo-lithograph - A process in which an image is produced on a lithographic plate by photographic means.
Pochoir - A printing process using stencils, originally used to simulate hand colouring.
Printer’s Proofs - Impressions printed especially for the printer(s) and excluded from the numbering of an edition, but exactly like the editioned prints in every other respect. Usually appears as ‘P.P.’.
Publisher - The person or entity that subsidises and often initiates the making of a print edition or portfolio and who also disseminates the prints.
Relief Printing - When the image is printed from the raised or uncarved portion of the matrix. Relief processes include woodcuts and linocuts, among others.
Soft-ground Etching - A grease, such as tallow is added to the surface of the plate. A sheet of thin paper is laid over the surface. The artist draws on the paper causing a line of the grease to attach itself to the paper. When the paper is lifted, the portion of the grease that attached itself is peeled away leaving soft lines for the acid to bite. The effect achieved is similar to a crayon drawing.
Screenprint/silkscreen - A printing process using stencils to block out areas which are then printed through silk, synthetic fabric or metal mesh.
State - An impression taken from the plate at a particular moment or stage of development and distinguished from impressions taken at other times during the process. The final state is the state from which editions are generally pulled, although some artists pull several impressions in each state.
Woodcut - A relief technique where the image or design is left raised above what is carved out of the wood. What is not carved is printed.