The act of publishing seems to entail the search for a public, perhaps even for a sense of community, and with it the desire to reach out and to connect, to participate in the production and sharing of knowledge. Since the beginning of humankind, when people laid their first imprints on the material world around them, by shaping and adorning a weapon, a tool, their body, or by leaving handprints on a cave wall, a certain public intention and urge of communicating have always been present, putting things, and people, in motion – all the way up to the revolution initiated by Gutenberg’s print¬ing press, and later on amplified by modern technologies that allow us to disseminate “digital” marks on and in the world. The exhibition (IM)PRINT presents works that address different interpretations of the acts of publishing and disseminating, but also of imprinting and impressing. Some of the works on display, investigate the similarity between jewellery and language or typography: how the former allows for potentially infinite configurations, functioning in this way similarly to an alphabet, whose ideal surface and interface for communication is the body and the surrounding space. Other positions bypass for a moment the physicality of jewellery and objects, and rather look at the role and practice of the artist as publisher, editor or producer. Then there is the perspective that takes into account the data and information that are impressed onto the surface of things, and the constant, reciprocal exchange of information (and re-marks) between subjects and objects: how trusted things and belongings that we live with, leave a mark on us just as much as we leave it upon them through our daily contact and manipulation. These and more are the views encompassed in (IM)PRINT, an exhibition that in itself can be seen as a temporary platform where different ideas on and about jewellery and objects, are circulated and discussed.