A-N Magazine CRITICAL CONTEXTS / TALES of TWO CITIES / MOTI
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a-n Magazine FEB 2005 £4.25 CRITICAL CONTEXTS / TALES OF TWO CITIES / MOTI ROTI PROFILE / OVER 130 JOBS AND OPPORTUNITIES ( 6.75) Artists’ events “This event actively inspired, revealed and rejuvenated threads of solidarity amongst a provocative and resourceful group of peoples from varied physical and ideological geographies. It also revealed the still formative, transitory, and potentially transformative nature of artists’ networks in local, national and global contexts.” Sarah Jane Pell, participant in Quo Vadis, Networking artists’ network event, Bristol/Cardiff, November 2004 March 18-20 March 20-21 May Changing Rooms, Stirling Norwich New Greenham Park, Newbury Look out for details in next month’s issue of Critical space Close Proximity this artists’ event Residential weekend constructed to create a Organised by Helen Sloan (SCAN) and challenging yet supportive atmosphere in artist/curator Jonathan Swain, to look at the A Networking artists’ networks event which a team of experienced artists and changing identity of areas that lie in the organised in partnership with Changing facilitators led by artist curator John Beagles shadow of the ever-bulging ‘commuter belt’ Rooms, supported by generate a programme of activities that around London, and the effect this has on provoke and extend critical interchange artists’ practice. As the boundaries of amongst twelve artists from Suffolk and London expand further and further, Close twelve from elsewhere in the UK, giving Proximity explores the role of urban and participating artists a rare opportunity to economic development in the arts close to step back from making work and engage in the capital. intensive discussion. Saturday 5 March Artists and commentators interested to City Art Centre Edinburgh Organised as a partnership between Making submit ideas for papers and demonstrations art work and the Networking artists’ of work relevant to this theme should send Fast forward networks initiative. CV and proposal (one side A4) to Helen Sloan, SCAN, ArtSway, Station Road, Sway Professional and critical networking event Supported by SO41 6BA, Deadline 25 February. To discuss for recent visual art graduates, devised by the project further, contact Paul Moss, artist and co-founder of [email protected] or 01590 682824. Workplace, Newcastle upon Tyne, including presentations by artists and curators, If you participate as a speaker/artist your discussions and information pack. FULLY BOOKED BUT ASK FOR DETAILS IF YOU accommodation will be provided free and WOULD LIKE TO ATTEND A SIMILAR SESSION we will pay a small fee. Others wishing to Admission free but booking essential, contact 0131 650 2211 attend the event can do so for free, but [email protected] accommodation will not be provided. For further details or to book a place, contact Organised as a partnership between a-n The info@ scansite.org Artists Information Company, Talbot Rice and Cultural Enterprise Office. A Networking artists’ network event April 23/24 supported by Derby Fast Forward Professional and critical networking event Supported by for new and emerging artists, devised by Mark Gubb and chaired by Emilia Telese, If you would be interested to partner on or artist and Artists’ Networks Coordinator, a-n host future artists’ events contact The Artists Information Company. Artists’ Networking artists’ networks presentations and discussions information [email protected] / point to encourage professional exchange [email protected] (Scotland events) and development of networks. Fast forward Supported by [email protected] Full details in the next issue of a-n Magazine. 5 812 22 26 28 a-n Magazine FEBRUARY 2005 Regulars Features Editorial and subscriber prizes 4 Critical contexts 26 Artist’s story 5 Dominic Thomas on the importance of a critical context for artists’ practice. Time to travel: Vineta Kaulaca Tales of two cities: Brazil 28 Reviews 6 Luiz Camillo Osorio provides an insight into the political and cultural landscape of Rio de Janeiro and Ana Paula Cohen unravels a section of the vast megalopo- What’s on 10 lis of São Paulo in the first of this new series commissioned by Deborah Smith. Subscribe or renew 19 Great excursions 32 News 20 Alice Maude-Roxby on photographing Michael Stevenson’s Rakit. Networking artists’ networks 24 Now & then… 34 Edith-Marie Pasquier and Manick Govinda are engaged by the work of produc- Opportunities 38 tion company motiroti. Unique advertising and listings for UK and beyond Art vacancies 55 New on www.a-n.co.uk Employment opportunities Fees & payments Directory 56 Artists’ rates of pay 1989 – 2004. Susan Jones gives a historical overview of Listing of specialised services artists’ fees and payments a-n News 62 Quo vadis Updates and announcements on Specially commissioned by Chris Brown from the Quo Vadis NAN event, this new a-n people, partners and projects web writing includes introduction giving event background and intentions plus: Phil Babot on the cross-border and international methods and achievements of a selection of artist-led initiatives in South Wales. Carolyn Black makes an inquiry into cultural identity and the nomadic artist. Paul Glinkowski questions the circumstances that lead to or explain cultural barriers, how such barriers can be breached or transformed into inviting thresh- olds to cross. Sarah Jane Pell’s Australian perspective on UK artists “directing their own cul- tural traffic initiatives’ and charting new territories towards cultural legacy and Cover: Emma Pratt, When Its Frosty He Likes To Lick sustainability”. Lamposts, mixed-media installation with lard, 2005. See ‘News’ page 23. Dominic Thomas on the importance of a critical context for artists’ practice. Editorial Subscriber prizes Maintaining a critical context is a core ingredient in sus- taining an artist’s practice, as asserted in Dominic Thomas’ article published this month. He regrets the current culture of “avoidance of the core subject” in which professional development programmes are seemingly “unable or unwill- ing to tackle the issue of the actual products of an artist’s labours”. He exposes a “kind of unspoken rule… ‘I won’t say anything difficult about your work if you don’t say any- thing difficult about mine’” that is prevalent amongst artists’ groups and networks. Three copies of Changing States: Five signed copies of Bill So why is the artist’s product so often overlooked within Contemporary Art and Ideas in an Era Drummond’s How to be an artist those events and activities that are created specifically to of Globalisation to be won. to be won. support artists… and why do artists often suppress an hon- Featuring the work of over 100 artists “Don’t be fooled by the title of this est response to the work of their peers? As artists we share and writers, this unique anthology book. There is nothing between its experience of producing work and the vulnerability of self maps the changing landscape of covers that can, in any way, be contemporary art and culture over construed as a step-by-step guide to that can accompany that; so perhaps it is misplaced empa- the past decade in the context of being an artist of any kind… That thy for those feelings. But wouldn’t artists rather have criti- global economics and local politics. said, I challenge you to fully consume Seen through the prism of a decade this work and not realise that you cal feedback that offers a fresh perspective on new work, a of artistic programming by the already knew all there was to know perspective that’s lost in the focused build-up to the com- Institute of International Visual Arts about being an artist.” Bill Drummond pletion of a work? Artists themselves need to decide (inIVA), the book examines the most pressing issues that have driven See Andrea Mason’s review of whether it’s neutral strategic advice or constructive critical international contemporary art at the Bill Drummond’s performance feedback that they really need from professional develop- turn of the millennium. How to be an artist on page 9. ment routes. “Changing States creates a poignant How to be an artist by Because a-n represents the diversity and complexity of visu- weave of eclectic and diverse Bill Drummond al arts practice across the UK, our activities provide a thought, which is easy to navigate ISBN 0-9541656-0-8 through and can be returned to when Distributed by Turnaround unique platform for artists to discuss, debate and assert wanting.” Edith-Marie Pasquier Price £15.00 their needs whatever these may be – everything from criti- See Edith-Marie Pasquier’s review of cal frameworks to enhanced rates of pay. Our strategic role To enter you must be a subscriber. Changing States on page 6. For more Send a postcard with your name as the UK’s representative body for artists and trusted information or to purchase a copy of and address, clearly stating which advisor to those that work with and for artists provides a the publication visit www.iniva.org or competition you are entering by telephone 020 7729 9616. 25 February to a-n Magazine, First vital interface with wider world to ensure that artists’ cur- Floor, 7-15 Pink Lane, Newcastle rent and future needs are positioned at the heart of visual Changing States: Contemporary Art upon Tyne NE1 5DW. Only one and Ideas in an Era of Globalisation arts policy and cultural development. entry per competition. Call ISBN 1-899846-40-9 +44 (0) 191 241 8000 to Published in the UK by inIVA subscribe and enter these Price £25.00 competitions. Gillian Nicol Editor Dominic Thomas’ article forms part of a new set of web-based This issue writing commissioned by Chris Brown for a-n and resulting from the Quo vadis NAN event in Bristol and Cardiff in November.