Talk: Mid-level Galleries in the Age of the Mega-gallery

Salon | Art Market Talk | The Place of Mid-level Galleries in the Age of the Mega-gallery
Filmed on June 13 2013 at Art Basel

Elizabeth Dee, Founder and President, Elizabeth Dee Gallery, Co-Founder and President of The Independent, New York
Edward Winkleman, Founder and President of Winkleman Gallery, New York, and Co-Founder of Moving Image Art Fair, New York/London
Moderator: Josh Baer, Art Advisor and Publisher of Baer Faxt, New York




What is a "Mid-Level Gallery"? What is a "Mega-Gallery"? How does the relationship between the artist and the gallery work? Are you as an artist getting this type of service from your gallery?

The Trouble with Curating: Conference

From the Institute of Contemporary Arts in London
Uploaded on 20 Dec 2010

The verb to 'curate' is a recent addition to the lexicon of the art world. How has the role of the curator developed and, as the boundaries are increasingly blurred between the artist and the curator, is there a fundamental difference of position between artist and curator? Curator and writer Andrew Renton chairs the discussion with the Director of The Showroom Emily Pethick, Tate Britain Director Penelope Curtis, artist Steven Claydon and lecturer, writer and artist Pavel Buchler.

Art Market and Art Fairs

'(Art) Dealers worldwide earned about 36 percent of their sales on average through local or international art fairs in 2012, an increase of 6 percentage points from 2010, according to the European Fine Art Foundation’s Art Market Report by Arts Economics, which surveyed 6,000 dealers. '

Report (March 2013) link: http://www.tefaf.com/DesktopDefault.aspx?tabid=148&tabindex=147&postid=13221

'While some smaller dealers get better exposure by showing alongside bigger galleries at fairs, many struggle even to get past the long waiting lists for entrance into the fairs, while those that win access must work hard to recoup the costs, including the booth fee, airfares, hotels and entertainment. Just a booth can start at $15,000, go to $40,000 or so for a midsize gallery, or even $100,000 and above for a larger space. '

'Some big New York galleries then send as many as 20 employees to staff the fairs; travel, hotels and parties for collectors, as well as insurance and installation for the art, can push the cost past $300,000 for one fair alone. '


'The Arts Economics report found that sales by dealers with annual revenue of less than 500,000 euros fell 17 percent in 2012, whereas sales for dealers with annual revenue exceeding 10 million euros rose 55 percent. Worldwide, the top one-tenth of dealers account for more than 60 percent of total gallery sales above 20 billion euros. '
 
According to the Web site Galleries of New York, which collates real estate data, the number of galleries in the big art districts has declined in the past few years — galleries in West Chelsea have fallen to 282 from a peak of 364 in 2007; those in SoHo have dropped to 87 from 337 in 1995. 

full article here
http://www.nytimes.com/2013/08/22/arts/for-art-dealers-a-new-life-on-the-fair-circuit.html?pagewanted=2&src=un&feedurl=http://json8.nytimes.com/pages/arts/design/index.jsonp


Art Events September 2013:source http://www.artvista.de


Shanghai Art Fair 

SAFOTO San Antonio 

Arte Salta 

Art Gwangju 2012 

Great Sydney Antiques Fair 

Joburg Art Fair 

PETERSFIELD Antiques Fair 

Shanghai Contemporary 

Gwangju Biennale 

20/21 British Art Fair 

Berliner Liste 

Preview Berlin - The Emerging Art Fair 

Art Copenhagen 

Mediations Biennale 

Chelsea Antiques Fair 

International Art fair ART MOSCOW 

Art Amsterdam  

VIENNAFAIR  

ARTELIBRO  

BAAF Brussels Accessible Art Fair 

ARTNÎM - Nimes  

Antiques and Art at the Armory 

KIAF Korea International Art Fair 

Busan Biennial  

Biennial de São Paulo 

Illustrative 12 Berlin 

Art Platform - Los Angeles 

Taipei Biennale  

Venice Biennial  

Les Rencontres d'Arles  

OSTRALE‘012  

Contour - 6th Biennial of Moving Image 

abc art berlin contemporary  

ROMA Contemporary Art 

Sulman 2011

... The winning artist, Peter Smeeth, whose painting The Artist's Fate took him 150 hours to complete, is not amused.

''It takes away from my credibility, if that's his method,'' Smeeth said. ''It is a bit deflating, from my point of view, if that's the whole basis for how I won the prize. I certainly would like to think I won it on merit, not on the toss of a coin.''

================

Sulman Finalists

http://www.artgallery.nsw.gov.au/exhibitions/archibald-wynne-sulman-prizes-2011/finalists/sulman-finalists/

the selection process

The sole judge of the prestigious Sulman art prize has revealed to The Sun-Herald that he chose the winner of the $20,000 award by tossing a coin.

''Like every prize, it's a lottery,'' said the judge, Richard Bell, an artist known for his provocative work.

===========================

Bell said he liked what Smeeth had written on the back of his canvas ''and the guts were drawn pretty good''. 

On the back of The Artist's Fate , the artist had written: ''Rejection feels like it has cost an arm and a leg, getting poked in the eye with a sharp stick, being emasculated, having your heart ripped out and being left completely gutted!''

=================

Bell was chosen as the sole judge of the Sulman prize by the 11 trustees of the gallery on the advice of the director, Edmund Capon. But Mr Capon said he was not surprised by Bell's judging method.

''He's a stirrer by nature and I've got no problem with that at all,'' he told The Sun-Herald .

Mr Capon said the Sulman prize was a lottery, but it was easier to predict the tastes of one person rather than the 11 trustees who judge the Archibald and Wynne prizes.

''It's very much a matter of individual taste and instinct and the kind of aesthetic, wit and humour of the individual artist. And I like that,'' Mr Capon said.

source SMH

================

But while there was outrage among some of the finalists, Bell remains unrepentant.

“Most artists know what these prizes are about,” he told The Art Newspaper. “They’ve got very little to do with art and much more to do with the institution.”

=============

Smeeth, whose winning entry was a self-portrait titled The Artist’s Fate, 2011, said that while he was initially “nonplussed”, on reflection he is now happy. “I’ve got the prize and the publicity,” he said. “Every person who judges an art show brings their own agenda to it, same as a cattle show.”

=============
source

Venice - ILLUMInations

An interview with Bice Curiger, the Director of the 54th International Art Exhibition "ILLUMInations", Venice Biennale 2011

Introduction
http://www.labiennale.org/en/art/exhibition/curiger/


Bice Curiger is an art historian, critic and curator of international exhibitions. Her curatorial activity at Kunsthaus Zurich parallels her important work in the publishing sector. In 1984, she cofounded the prestigious art magazine “Parkett”, of which she is editor-in-chief. She has been publishing director of London Tate Gallery’s magazine “Tate etc” since 2004.

The exhibition ILLUMInazioni – ILLUMInations will be laid out in the Central Pavilion in the Giardini and in the Arsenale, forming a single itinerary, featuring 83 artists from all over the world, including 32 young artists born after 1975, as well as 32 women artists. The director asked four participating artists to create “parapavilions”, architectural and sculptural structures erected in the Giardini and the Arsenale to house the works of other artists.

As usual, the Exhibition will be paralleled by 89 National Participations, a record for the Art Biennale (they were 77 in 2009), housed in the historical Pavilions in the Giardini, in the Arsenale, as well as in other locations around the city. The Padiglione Italia in the Arsenale, organized by the Ministry for the Cultural Heritage and Activities together with PaBAAC – General Direction for landscape, fine arts, architecture and contemporary art, will be curated by Vittorio Sgarbi. The countries that will be participating for the first time will be Andorra, Saudi Arabia, Bangladesh, Haiti. Other countries will be participating after a long period of absence: India (1982), Congo (1968), Iraq (1990), Zimbabwe (1990), South Africa (1995), Costa Rica (1993, afterwards with IILA), Cuba (1995, afterwards with IILA). There will be 37 Collateral Events arranged by international organizations and institutions, that will set up their exhibitions and initiatives in various locations around the city on the occasion of the Biennale.

“La Biennale di Venezia is one of the world’s most important forums for the dissemination and illumination of current developments in international art – Bice Curiger stated. The title of the 54th International Art Exhibition, ILLUMInations, literally draws attention to the importance of such endeavours in a globalized world. As the biggest and oldest Biennale, la Biennale di Venezia has always been buoyed by an international spirit, and even more so now in an age in which artists themselves have become multifaceted, discerning migrants and cultural tourists”.

“ILLUMInations emphasizes the intuitive insight and the illumination of thought that is fostered by an encounter with art and its ability to sharpen the tools of perception – the director underlined. While the last Biennale ‘Making Worlds’ highlighted constructive creativity, ILLUMInations will focus on the ¢light’ of the illuminating experience, on the epiphanies that come with intercommunicative, intellectual comprehension. The Age of Enlightenment also resonates in ILLUMInations, testifying to the enduring vibrancy of its legacy”.

=========

On the occasion of the 54th Exhibition, three online competitions will be launched through the website www.labiennalechannel.org:
· ILLUMInations – Photography: the best photograph of the Exhibition (competition open only to accredited photographers)
· ILLUMInations – Essay: the best critical essay on the Exhibition
· ILLUMInations – Video clip: the best video about the Exhibition

Mustapha Benfodil

"an installation consisting of mannequins in soccer uniforms emblazoned with Arabic phrases that were deemed blasphemous. "

".... it was "sited in a very public courtyard, a place where children play after school, where families wander together on the weekend and where people pass on their way to religious services at the neighbouring mosque. This work paired language that was sexually explicit with religious references in an overt and provocative manner." "

Mustapha Benfodil — not half as well known as Persekian — has been somewhat forgotten. ARTINFO UK met him in London to discuss his work and hear his version of the story.

"The general topic of the biennial is betrayal. The title is "A Plot for a Biennial" and in the curators' minds, "plot" had two meanings: "plot" as a conspiracy, something that has to do with murder, transgression, subversion, intrigue, and "plot" as a narrative framework. From the start, I wanted to work on the relationship between the writer and society, and how a writer's output resonates with his environment. In this piece, I placed two teams of mannequins in the space like two football teams. The first team had my literary creations, theatrical and poetic works printed on their white shirts. The other team wore green and red gear, the Algerian colours, and they represented society. They wore texts borrowed from Algerian pop culture: jokes, recipes, proverbs, and folk songs. "

"Other things could have been censored in this piece. For example, I use swear words, and this could be interpreted as shocking, but in this part of the Arabic world they don't understand Algerian Arabic, and this might explain why people didn't react to the graffiti saying things like "shit government," "army, fuck off." This is all part of my work: What does it mean to be an Algerian writer in Sharjah? "

I've expressed my solidarity with Persekian from the beginning, but he hasn't reciprocated. I'm not sad that doesn't stand up for me as Mustapha Benfodil, but I think that as the director of the Sharjah Art Foundation he ought to defend the principle of freedom in art and condemn censorship in all its forms. Maybe at first he didn't have any information about me and about my artwork — he said in the statement that he couldn't control everything and I understand this. But now, I've explained my position publicly. My personal statement was widely circulated, so he cannot say that what I've done was just a mistake. This text is a condemnation of the rape of women in Algeria during the civil war. This isn't a simple affair.

full article here


=============

Extract from petition.

On April 6th, 2011, Jack Persekian, Director of the Sharjah Art Foundation since 2005, was dismissed without notice by the ruler of Sharjah, HH. Sheikh Sultan Bin Mohammad Al Qasimi. The sudden termination of Persekian’s post came after a public outcry over the perceived offensive content in an artwork exhibited in the 10th edition of the Sharjah Biennial by Algerian artist, journalist and activist Mustapha Benfodil.

The work of art in question borrows the voice of rape victims at the hands of religious extremists in Algeria, who were using religious texts to justify their crimes. The work is very specific to the Algerian context and is in no way meant as an attack on religion or Islam in general.

In the days following Mr. Persekian’s dismissal, a number of other art works have also been declared offensive, resulting in them either being taken down, altered or relegated to the status “under review”.

see full petition here

http://sharjahcallforaction.wordpress.com/

==============

curator's statement
http://sharjahcallforaction.wordpress.com/rasha-salti-haig-aivazians-statement/

================

What is Critique?

Symposium, What is Critique? held on Nov. 20th, 2010.

What is Critique? is an all day symposium that consists of panel discussions with artists, critics, teachers, and students city-wide that investigates the role that art critiques and criticism play in art production. The first half of the day will focus on the nature and function of art critiques as a form criticism and pedagogy. The latter part of the day will be a panel discussion addressing the relationship between critical theory, art production and art reception. More information can be found at http://newyork.platypus1917.org/critique/.










The first video is from the afternoon panel, entitled The Art Critique: Its History, Theories, and Practices. This panel consisted of Tom Butter, Simone Douglas, and James Elkins; it was moderated by Laurie Rojas.






The second video is documentation of the evening panel, entitled The Relevance of Critical Theory to Art Today. The panel consisted of J.M. Bernstein, Chris Cutrone, Lydia Goehr, and Gregg Horowitz; it was moderated by Chris Mansour.

All the videos can be found at http://streamingculture.parsons.edu/the-art-critique-its-history-theories-and-practices/.

Stickers 2 - Book

View entire book here

Open publication - Free publishing - More streetart

http://issuu.com/misterplace/docs/stickers_2

Artsummit - Melbourne

5th World Summit on Arts and Culture

Melbourne, 3 - 6 October 2011

Creative Intersections - video from Australia Council for the Arts.

The 5th World Summit’s theme is Creative Intersections - bringing together government and cultural leaders from over 80 countries to explore how artists can give voice to diverse communities and concerns through collaborations with experts in health and well-being, the environment, education, business, new technologies, cultural identity and more.

http://www.artsummit.org/programme/theme/

Delegates will also arrive at the start of one of Australia’s finest international arts festivals, the Melbourne International Arts Festival.

Also note:

IMPACT 7
International Multi-disciplinary Printmaking Conference
27 - 30 September 2011
Monash University, Melbourne Australia

http://www.impact7.org.au

Renew Newcastle

DIY transforming a dying city from Marcus Westbury on Vimeo.

"For the last 18 months more than 60 groups of artists, creative businesses and community groups have been taking over once empty spaces in the centre of Newcastle, NSW, Australia under a program called Renew Newcastle.

Renew Australia is a new social enterprise being established to work nationally and internationally to support projects based on the same model. It will support local communities and take over otherwise empty spaces for low cost use by creative and community projects. The project has just received $10,000 worth of seed funding from a Social Traders program called 'The Crunch' and is developing a business plan to launch full scale operations in 2011. "

Arts Policy - Juliana Enberg

Dear Mr Rudd: The Arts. Juliana Engberg and Jill Singer

Juliana Engberg discusses arts policy and the wider applications of the arts in society with Jill Singer. This is one of a series of conversations associated with the Dear Mr Rudd book published by Black Inc.
April 2008

part one is here

part two is missing

7th Australian Print Symposium

Materiality
7th Australian Print Symposium
National Gallery of Australia,
Canberra 15-17 October 2010

The Australian Print Symposium has been held at the National Gallery of Australia since 1987. Convened by Roger Butler, Senior Curator of Australian Prints and Drawings, the Symposiums provide a forum to discuss prints and printmaking from Australia and the region. The papers presented by artists, print curators and art historians - have a major focus on contemporary prints and printmaking practice. For registration details and further information visit:

http://www.nga.gov.au/printsymp2010/

Keynote speaker: Glenn Barkley
Glenn Barkley, Curator, Museum of Contemporary Art, Sydney, has a passionate interest in the replicated image—in all their various guises. He has curated the major exhibitions Multiplicity: Prints and Multiples, (MCA 2006 and touring) and avoiding myth & message: Australian artists and the literary world, MCA (2009).

Symposium
Friday 15 and Saturday 16 October 9.30 am – 4.30 pm
Sunday 17 October 9.30 am – 12 noon
James O Fairfax Theatre | Bookings essential 02 6240 6528 | $250 full rate; $190 members/concessions; $80 students
(Fee includes lunch, morning and afternoon tea)

Works of art on paper curators forum
Monday 18 October 10.00 am – 4.00 pm
A forum for curators and other professionals that have
a particular interest in the collection and display of works of art on paper.

With some 20 speakers and over 200 delegates attending, the symposium provides a lively forum to discuss prints and printmaking in Australia and the region. The papers, presented by leading artists, print curators and art historians, focus on contemporary practice in print production, book arts, street stencils and the like. There will also be special tours of the National Gallery’s 11 new Indigenous galleries and Skyspace, the recently completed work by James Turrell. There will be associated events in local galleries, the Megalo Print Workshop and the ANU Canberra School of Art.

Biennale of Sydney 2010

http://www.biennaleofsydney.com.au/ 

Listen to David Elliott, Artistic Director, 17th Biennale of Sydney talk about the concept of the exhibition and what to expect next year. Interview with David Elliott for VernissageTV at Artane Gallery, Istanbul on 9 September, 2009.

http://vernissage.tv/blog/2009/10/07/17th-biennale-of-sydney-interview-with-artistic-director-david-elliott-part-12/ 

http://vernissage.tv/blog/2009/10/08/17th-biennale-of-sydney-interview-with-artistic-director-david-elliott-part-22/

Romantic Prints - AGNSW

http://www.youtube.com/watch?v=_B-07bdcpO8

Printmaking in the Age of Romanticism
6 August - 25 October 2009
Project gallery, Ground Level

Romanticism emerged in the closing years of the 18th century as a powerful force in the development of European music, literature and painting. It also found strong expression in the graphic arts. Major Romantic artists, such as Blake and Turner in England and Géricault and Delacroix in France, all turned to printmaking for its unique possibilities to produce aesthetic effects unrealizable in other media. This exhibition, featuring over 100 prints, also includes the works of many less well known artists such as Gustave Doré, Rodolphe Bresdin and Charles Meryon, who rejected painting in pursuit of strange and original visions in the field of printmaking. 

CHart - UK

Welcome to CHArt's web site. CHArt was established in 1985 by art and design historians who happened also to be computer enthusiasts. Initially a forum for the exchange of ideas between people who were using computers in their research, the largely academic membership was soon augmented by members from museums and art galleries, as well as individuals involved in the management of the visual and textual archives and libraries relevant to the subject.

CHArt is a society open to all who have an interest in the application of computers to the study of art and design. We hold an annual conference and publish the conference proceedings, run an email discussion list and keep in contact with our members through a newsletter. CHArt also sponsors the World Wide Web Virtual Library for History of Art. You will find further details of all our publications and activities on this web site.

http://www.chart.ac.uk/

==================

• Seeing... Vision and Perception in a Digital Culture (CHArt 2008)
• Digital Archive Fever (CHArt 2007)
• Fast Forward - Art history, curation and practice after media (CHArt 2006)
• Theory and Practice (CHArt 2005)
• Futures Past: Twenty Years of Arts Computing (CHArt 2004)
• Abstracts from earlier conferences (2003-1997)

• Theory and Practice (CHArt 2005 conference)
• Futures Past: Twenty Years of Arts Computing (CHArt 2004 conference)
• Convergent Practices: New Approaches to Art and Visual Culture (CHArt 2003 conference)
• Digital Art History? Exploring Practice in a Network Society (CHArt 2002 conference)
• Digital Art History - A subject in Transition (CHArt 2001 conference)
• Moving the Image: Visual Culture and the New Millennium (CHArt 2000 conference)
• Digital Environments: Design, Heritage and Architecture (CHArt 1999 conference)

CHArt's annual conferences - read abstracts of papers from our recent conferences.

CHArt's email discussion list (Joining instructions & message archives)

Electronic CHArt: Teaching, Images, Internet - CHArt's first online project.

The World Wide Web Virtual Library: History of Art

Primavera - MCA - Sydney

Primavera 2009
9 SEPTEMBER - 22 NOVEMBER 2009

This year the MCA’s popular Primavera series comes of age as the annual exhibition celebrates its 18th anniversary. With a reputation for uncovering new talent in the visual arts, Primavera provides valuable exposure for emerging artists aged 35 years and under.Primavera 2009 guest-curator Jeff Khan has selected nine of today’s most exciting young contemporary artists from across the country to explore the relationship between art and the viewer. Discover highly experiential works that engage you through humour, emotion, performance and immersive experiences both inside and outside the galleries.

Working across a range of disciplines, the Primavera 2009 artists are Andy Best, Christine Eid, Michaela Gleave, Christopher LG Hill, Ross Manning, Wade Marynowsky, Roderick Sprigg and spat+loogie.

http://www.mca.com.au/default.asp?page_id=10&content_id=5592

=============
GOING PROFESSIONAL - CURATORSHIP
Saturday 10 October, 2.30 – 4.00pm

Jeff Khan, curator of Primavera 2009 and Artistic Director of Melbourne's Next Wave Festival, and MCA curator Glenn Barkley provide guidance for emerging curators by discussing their own careers. Come with your questions ready.
$30/$25 MCA Members & Concessions
Bookings Essential: education@mca.com.au or 02 9245 2484

============
Making it New: Focus on Contemporary Australian Art
10 September - 11 November 2009

Making It New celebrates contemporary art in Australia today. Presenting a diverse selection of works by 18 established artists, the exhibition spans painting, installation, video, sculpture and new media. The exhibition is the fourth in the MCA’s biennial exhibition series which focuses on contemporary Australian art practice. Previous exhibitions were Meridian (2003), Interesting Times (2005) and Cross Currents (2007). This year, MCA curator Glenn Barkley has selected artists whose work is anchored in a sense of tradition and ongoing engagement with political and social worlds. These artists are also pivotal figures within their own communities—whether they be social, historical, cultural or artistic—as teachers, supporters and advocates.

Featured artists are Alison Alder, Micky Allan, Jon Campbell, Lou Hubbard, Matthew Hunt, Bob Jenyns, Linda Marrinon, Archie Moore, Tom Moore, Marrnyula Mununggurr, Raquel Ormella, Alwin Reamillo, Khaled Sabsabi, Neil Taylor, Ken Thaiday Snr, Ruth Waller, Toni Warburton and Ken Whisson.

10th Biennale de Lyon

10th Biennale de Lyon

From 16 September 2009 to 3 January 2010

La Sucrière
Museum of Contemporary Art Bullukian Foundation
Bichat Warehouse

Curator
Hou Hanru

Artistic curator
Thierry Raspail

Production manager
Thierry Prat

We are living in the society of the spectacle. In spite of its alienating effects on our life and social relationships, it’s one of the very fundamental conditions of our existence. We perceive the world and communicate with each other through the spectacle – a system of image production and representation dominated by the logic of market capitalism which tends to “develop” our faculties of perception, imagination and reflection towards a “one dimensional model” formatted by the language of consumerist ideology. This is also the very contemporary condition of our self-identification and social order “guaranteed” by the established power system. As a main typology of artistic and cultural events of our time, biennials of contemporary art are no doubt an ultimate form of expression of such a tendency...

interview with curator
http://www.biennaledelyon.com/contemporaryart2009/edition-2009/

website
http://www.biennaledelyon.com/contemporaryart2009/

Press PDF files

http://www.biennaledelyon.com/data/classes/revuepresse/rdp_8_coupure.pdf

http://www.biennaledelyon.com/data/classes/revuepresse/rdp_13_coupure.pdf

==========
as reported on Universes
http://universes-in-universe.org/eng/bien/biennale_de_lyon/2009

Venice - Curator interview

Tim Griffin talks with curator Daniel Birnbaum about the 53rd Venice Biennale

http://www.artforum.com/inprint/issue=200905&id=22616

Curating Conferences

Comparing conferences is Sydney and Amsterdam.

Sydney
Artspace Public Programs include regular symposia and conference events, often presented in partnership with peer organisations and educational institutions.
http://www.artspace.org.au/public/public_symposia.php

17 - 18 April 2009
Artspace Visual Arts Centre & Art Gallery of New South Wales

Spaces of Art
An international conference on institutional / post-institutional curatorial and related practices in contemporary art
Convenors: Reuben Keehan and Blair French

Spaces of Art engages questions crucial to the future of art institutions and their relationship to contemporary practice in the 21st century, with particular reference to curatorial and artistic strategies in Australia and the Asia-Pacific.

more info
http://www.artspace.org.au/public_archive/conference_spacesofart.php

===================

I missed this conference, but have been assured by Artspace that they will be publishing the procedings

"We will be publishing papers at some point - late this year or early next - and will advertise this on our website."

======================

Amsterdam

I was not able to physically attend the Conference in Amsterdam that took place last night. This was "Positions in flux: On the changing role of the artist and institution in the networked society" a symposium forming part of the 30th anniversary celebrations at the Nederlands Instituut voor Mediakunst (Montevideo)

"The symposium 'Positions in flux: On the changing role of the artist and institution in the networked society' will center on some of the major parameters for the current and future development of contemporary art. In particular it will reflect on the aspect of cultural sustainability of art projects, art and technology initiatives and art curating."

http://www.nimk.nl/nl/
http://www.nimk.nl/en/index.html

see blog post
http://blakkbyrd.blogspot.com/2009/05/conference-amsterdam.html

When I was in Amsterdam I regularly visited Montevideo for its exhibitions, openings and conferences. I discovered that the conferences were streamed live and that people could particpate remotely via online chat. Thus I was able to watch the proceedings, streamed live over my internet connection last night from here in Sydney.

The program, stream and chat are here

http://www.montevideo.nl/en/agenda/detail_agenda.php?id=303&archief=

http://www.montevideo.nl/en/agenda/detail_agenda.php?id=297&archief=

So somparing the two events, Artspace looks at the future of curating and the art institution with particular reference to the Asia Pacific Region. It is only accessible to physical participants and there is a year's wait for the opportunity to purchase written proceedings. The presenters are named but there are no links to their websites or works.

Montevideo looks at the future of curating and the art institution in an internationally networked society. The proceedings are accessible immediately, internationally by anyone with an internet connection. I think they will load the conference videos online soon. There are links to the websites and artworks presented at the conferences.

It is difficulties in accessing information about art events in Australia and the lack of access to new technologies that are keeping the Australian art scene from international participation in the 21st century.

CRAWL

Crawl was started in January 2007 by Nicholas Hudson-Ellis in response to a need within the Artist-Run-Initiative (ARI) community for a new type of arts organisation. An organisation that exists to promote ARIs and the artists who they exhibit.

In the world of the commercial art galleries, there is an abundance of press coverage and cash to go around. But within the ARI community, the very group of people who need the most support, and indeed who produce the most engaging and avant-garde work there is limited support.

The aim of Crawl is to provide a central resource for artists, students and anybody interested in the ARI community to find out what is happening in ARIs all around Australia.

Crawl is open for any Artist-Run-Initiative to join, and together we can build a new arts organisation to support our community.

http://crawl.net.au/