A Glimpse Into “Casual Prints”, A Collaborative Exhibition by Krack! Printmaking Collective X Getback Parlour

Krack! Printmaking Collective and Getback Parlour are teaming up to launch an exhibition called “Casual Prints”. It displays a range of silkscreen works produced throughout their everyday studio practices and collective projects, showcasing a glimpse into the rhythms of their collaboration.

Krack! is a printmaking collective based in Yogyakarta, who are popular for their open and experimental approach to the art form. Their mission extends beyond the sole production of graphics, as Krack! has cultivated a space for cross-collaboration; nurturing the exchange of ideas, techniques, and visual concepts amongst their artists. “Casual Prints” is an ultimate testimony to their constant becoming—presenting not only of their finished artworks, but signifying the processes in how they came to be through time, effort, and continuous collaboration.

The exhibition features Krack!’s key projects that were created over the recent years, such as Resistance is Futile (2017), Adakalanya Intelligent (2021), Studio Affair (2023), Print Season (2023), Kelas Menengah (2023), and their latest ongoing endeavour, Hacking Kracking (2024–2025). Each project stands as an ode to their signature collaborative approach.

Resistance is Futile (2017) highlights Krack!’s cross-national network of print studios and collectives, which included Grafis Huru-Hara and Cut & Rescue from Jakarta, Barasub and Mulyakarya from Yogyakarta, Perkasa from Bandung, and Milisi Fotokopi from Surabaya, Raksasa Print (Kuala Lumpur), Idle Beats (Shanghai), and Le Dernier Cri (Marseilles). The project established Krack!’s long-standing incentive of building international collaboration.

In contrast, Studio Affair (2023) has a more intimate approach, signifying their close collaboration with individual artists such as Uji Handoko, Ruth Marbun, Malcolm Smith, Prihatmoko Moki, Nurulaila Fitriyani, and Rizqi Maulana. It explores the materialisation of concepts and techniques that constitutes the practices shared between Krack! and their fellow artists.

On the other hand, Print Season (2023) proposed the initiative of visual experimentation. Artists like Adi Dharma (Stereoflow), Indra Dodi, Iwank Yellowteeth, Meliantha Muliawan, Sinta Carolina, Surya Subratha, and Restu Ratnaningtyas participated in the following project, where they coalesced their aesthetics into a shared silkscreen process.

Two other studio projects, Adakalanya Intelligent (2021) and Kelas Menengah (2023), delved into observations of the everyday. Through these projects, Krack!’s members responded to conversations around creativity, social contexts, and daily life—which were ultimately translated into silkscreen. The tone proved to be more personal, which adds a nuanced layer onto its expression in print.

The most recent project, Hacking Kracking (2024–2025), offers a fresh collaborative format. Each work is created by a duo of artists, resulting in nine silkscreen prints. The collaborators include Rudi Hermawan x Roovie, Oik Wasfuk x Fahriza Ansyari, Alfin Agnuba x Etza Meisyara, Prihatmoko Moki x Enka Komariah, Rudy Atche x Febrian Adinata Hasibuan, Raafi Artha x Anindita, Britto Wirajati x Deni Rahman, Hafizh Hanani x Pangestumu, and Umi Luthfiyyah x Putri Okta.

Beyond collective efforts, “Casual Prints” also dedicates room to explore the individual practices of three Krack! members—Rudi Hermawan, Alfin Agnuba, and Fahriza Ansyari. They displayed a series of print works that are characteristic of their own artistic practices, preferences and taste; showcasing the implicit effects of collective practice that nurture individual expression.

The exhibition runs from April 26 to June 6, 2025, at Getback Parlour, ITC Fatmawati, Jakarta. The opening event featured music by Elechoes and was officially launched by Yoga Pratama, co-founder of the Jakarta Illustration & Creative Art Festival (JICAFF). There was also a live screenprinting session that invited the public to participate in silkscreen printing on paper, endowing the audience with an experience of Krack!’s practices as the gallery space was turned into a makeshift studio.

“Casual Prints” has proven the importance of printmaking, particularly in response to the growing digitisation of art. Silkscreen is not merely an ‘analog’ artistic approach—its practice embodies the important values of collaboration, patience, and constant becoming that is intimate to the form. In a space shaped by experimentation, Krack! and Getback Parlour remind us that casual rhythms can carry serious dedication.