Institutions by Artists frameworks, and participatory themes of the Convention. vehicles, the three day series From internet art pioneers, October 12 – 14, 2012 of events is designed to chal- to grassroots cinema collec- Vancouver, Canada lenge and generate new think- tives, to media pirates and ing about artist-run initiatives institutional revisionists, this Institutions by Artists is a three globally, examining their many series of presentations will day, international event that dimensions whether urban or invite and engage the public evaluates and activates the rural, fixed or mobile, and lo- to meet visiting artists, and to performance and promise of cal or regional, among others. examine the many phenom- contemporary artist-run cen- Inspired by the many artists ena impacting and defining tres and initiatives. wrestling creatively with build- artist-run institutions globally. ing, using, shaping, and de- Among the Convention’s Convening a world congress ploying institutions by artists, experimental tactics are of artists, curators, critics, we will explore economies re-enactments of key histories and academics, Institutions by of exchange and knowledge; from the annals of artist-run Artists will deliberate, explore, institutional time and space; culture, radical distributions of and advance the common as well as intimate and profes- printed matter, the repurpos- interests of artist-run centres, sional networks, among other ing of data and systems, as collectives, and cultures, cre- critical interrogations. well as DIY models of educa- ating a catalyst for new as well tion, which ultimately support as divergent assessments and Throughout the Institutions an in-depth examination of perspectives on such phe- by Artists week, artist-run the innovative, critical, and nomena today. Using experi- centres will present special irreverent spirit of artist-run mental formats, performative projects that link to the cultures and initiatives. Session One Session Two Session Three Session Four

OCT. 12 World Art Centre / The his- Cinema / During its co-emer- OCT. 12 Cinema / In the context of World Art Centre / Often locat- tories of artist-run initiatives gence with countercultural decreased public funding for ed in remote areas or outside INSTI- inextricably belong to the so- movements of the 1960s and INTIMATE the arts in North America and the programmatic spectrum ciopolitical contexts in which 1970s, artist-run initiatives in Europe as well as the nearly of mainstream artistic and they develop, but a purely North America provided a non-existent financial support academic institutions, many TUTIONAL historical review of these space for the presentation and INSTI- elsewhere for the arts, ad hoc, artist-run initiatives adopt initiatives and contexts elides legitimization of experimental small-scale, temporary, and pedagogical practices into TIME: their critical significance to work and for the assertion of TUTIONS often nomadic institutions cre- their production and presen- artistic production, presenta- socially progressive and politi- ated by artists have taken root tation, offering unconven- tion, and discourse even while cally radical ideas and ques- in unanticipated sites, appear- tional formats and less formal FACTS & these histories are yet to be tions. In making such spaces Afternoon Sessions ing in domestic or appropri- contexts than offered by either written, revised, and complet- available, artist-run initiatives 2:00 – 4:30 pm ated spaces that rely upon gallery or academic set- ed. In this session, presenters have operated alternately as the collected resources and tings. On a smaller and more FICTIONS will compare and contrast key flashpoints for heated debates relationships of artist networks intimate scale, such initiatives episodes from the annals of and controversies, as well as for their survival. Whether foster the creation of alter- Opening Remarks artist-run initiatives against platforms for social under- through organizational struc- native educational models, 10:00 am (Cinema) a range of topics, including standing and re-imagining tures or modes of operation, enable marginalized audi- censorship, historical re-en- for their audiences. Sites for these artist-run initiatives ences access to information, Morning Sessions actments and reconstructions, both mythmaking and reality have constructed institutional and encourage the invention 10:30 am – 1:00 pm as well as established and checking, artist-run initia- armatures through largely if of new and atypical forms of problematic narratives of insti- tives have been fraught with not exclusively informal means. knowledge. This session ex- tutional critique, among other contradictions and yet have Presenters in this session will amines the pedagogical proj- considerations. By looking offered rare opportunities for survey the practices and strate- ects artist-run organizations retrospectively at these mo- exercising artistic, social, and gies of artist-run initiatives that around the world have set in ments through the thematic political potential. Inspired by involve or encourage intimate place, among them, kitchen lenses of the conference, the nuances and paradoxes of institution building grounded table knowledge production, participants will go beyond artist-run institution building, in expanded notions of family, “webs of matronage,” and the mere facts and fictions of presenters in this session will kinship, club, and neighbour- detournements to the “not- institution building to generate reflect on incidents, whether hood, among other social so-secret game of suburban new questions about artist-run fictional or factual, from the forms. one-upmanship.” initiatives and practices today. histories of artist-run initiatives to project foreseeable futures. Session in English and French. With: With: Session in English and French. Candice Hopkins Chumpon Apisuk Chantawipa Apisuk With: Laiwan Concrete House With: Vincent Bonin Isabelle Pauwels Jakob Jakobsen Marie-Josée Jean and Jennifer Cane and Mounira al Solh Walter Benjamin Deirdre Logue Al Razutis Moderator Allyson Mitchell Slavs and Tatars Louise Hervé Glenn Alteen Feminist Art Gallery (FAG) Chloé Maillet Eva Weinmayr Skeena Reece International Institute Moderator for Important Items Scott Rogers Amy Zion Justin Patterson Gabi Ngcobo Arbour Lake Sghool Center for Historical Reenactments Moderator Magnolia Pauker Moderator

Kate Steinmann

Plus a Screening of A Message from Our Sponsor (Al Razutis, 9 min., 1979) Session Five Session Six Session Seven Session Eight

OCT. 13 Cinema / As a result of socio- World Art Centre / Barriers to OCT. 13 Cinema / Between the promis- World Art Centre / The emer- economic shifts occasioned content, the desire to share es and practices of institutions gence of artist-run institutions STATES & by neoliberalism and global- information, a lack of economic PROMISES by artists, a palpable chasm and culture has arguably ization over the last twenty means, a belief in free culture, exists. Fraught with contra- contributed to innovations in years, public funding for the and a critical awareness of the diction and cynicism, artists artistic practice and produc- MARKETS arts has increasingly come social costs incurred by profit- & PRAC- today often recognize the gulf tion, influencing genres such to mean competition among, driven cultural development between the ideals and reali- as institutional critique, Kon- Morning Sessions and compromise for, artists all have compelled artists and TICES ties of artist-run initiatives and text Kunst, project work, col- 10:00 am – 1:00 pm who receive state support. their institutions to interrogate accordingly respond to this lectivism, feminist art, as well Although a relatively new existing economic and busi- recognition with techniques as pedagogical and parasitical phenomena in North America ness activities to invent creative Afternoon Sessions of infiltration, appropriation, practices, among others. In and Europe, artists from China, and impromptu means of pre- 2:00 – 4:30 pm and confrontation in their this session, presenters will Cuba, and former East Europe senting and sharing contempo- projects in an attempt to bring depart from artistic practices know firsthand the limitations rary art and discourse outside a consequential and critical to consider their relation- of government sponsorship conventional for-fee channels. self-reflexivity to bear on their ship to artist-run institution and the concessions made in Cognizant of market oppor- work and the wider field of art. building historically and in the exchange for cultural subsi- tunities and pitfalls, artist-run The presenters in this program present through statistical, dies. This session will carry on initiatives have generated will explore techniques of curatorial, art historical, and the discussions initiated dur- vehicles for circumnavigating auto-critique within artist- artistic means. ing the first night’s debate to the heavily regulated “culture run institutions to measure consider, on both theoretical industries” while simultaneous- the many distances spanning and practical terms, artist-run ly appropriating the language promise and practice. With: institutions entangled by art and methods of commercial Tim Dallett and state interests. entrepreneurship. This section Adam Kelly of the convention examines With: Artifact Institute the organizational modes and Warren Arcand With: methods employed—from Chris Fitzpatrick and out-sourced labour practices Claire Fontaine Post Brothers Matei Bejenaru to underground publishing and Vector Jaleh Mansoor Sam Gould creative commons and copy- Red76 Tania Bruguera left activity—to inform strate- Pelin Tan gies, logistical and financial, Peta Rake Corinn Gerber Moderator that make institutions by artists. Art Metropole and Jin-me Yoon Julia Bryan-Wilson Passenger Books Moderator Gregory Sholette With: Amy Kazymerchyck Queens College, CUNY, and Jeff Derksen Institute for Wishful Thinking Urban Subjects Pauline J. Yao Sean Dockray Moderator Telic Arts Exchange Am Johal Dirk Fleischmann Andrea Francke Piracy Project Gabriel Menotti Cine Falcatrua Moderator Jordan Strom Keynote Address Screening Session Nine Session Ten

OCT. 14 The Transfiguration 2084 OCT. 14 Cinema / Artist-run initia- World Art Centre / Despite the of the Bureaucrat 11:00 am tives have founded numerous potential today for creating SPECIAL 10:00 am EREHWON alternative networks for the online social networks, the It’s 2084. Money has been production and distribution of participation in specific kinds Artist, Writer, Independent abolished and people ex- culture and information, and of networking remains a high- EVENTS Publisher, Curator, Healer, change information products NOWHERE have used new and exist- priority need and activity for and co-founder of General as tokens of exchange. States ing channels to facilitate and artist-run institutions, which Primary Venue Idea, Art Metropole, and the have become ungovernable and Afternoon Sessions circulate contemporary art seek out coalitions of support Cinema New York Art Book Fair, AA borders have been redrawn by 2:00 – 4:30 pm discourse via printed matter, for their audiences and com- Bronson will offer reflections powerful individuals. Art has magazines, online projects, munities. In particular, these Overflow on artist-run initiatives and fully colonized life and every and classes, among other me- institutions create structures World Art Centre culture in this special address aspect of daily existence has diums. With a focus on com- of visibility for those artists of the conference. Informed by become aesthetic. What used to munication and discourse, who are often under-repre- his creative, pedagogical, and be museums have now become the proliferation of artist-run sented either because they spiritual work across various data centers. Being is perpetual magazines and publishing have emerging or experi- media, platforms, disciplines, self-design. No one has a pro- houses, free schools, and mental practices or because roles, and contexts, he will fession. There is no more work. other forms attests to the need they belong to contexts that speak to artistic collabora- A group of people may meet in a and desire to connect artists fall just outside the market or tion and “institution-building” city that was once called Berlin, and audiences in conversa- well-known discursive arenas. historically and in the present, and there they will discuss the tion, whether regionally or This session will review the and speculate on potential possibilities for independent further afield. This session will tactics artists have creatively futures. cultural production... gather participants to discuss and collectively undertaken current circulation strategies to develop vital networks of 2084 is a film directed by and identify critical sites for visibility. sociologist Pelin Tan and artist new discursive production in Anton Vidokle, commissioned varying geographic scales and by Or Gallery, on the occasion contexts. With: of the Institutions by Artists Anne Bertrand project, with the support of the Session in English and French ARCA BC Arts Council’s Innovations program. Biljana Ciric With: Ola Khalidi Bastien Gilbert Diala Khasawnih Makan Virginija Januškevičiūtė Baltic Notebooks Jonathan Middleton of Anthony Blunt Bodgers’ and Kludgers’ Co-operative Art Parlour Karen Mirza and Or Gallery Brad Butler Museum of Non-Participation Moderator Kim Nguyen Claire Tancons and Christopher Cozier Alice Yard Moderator Robin Simpson October 12, 7 pm October 13, 7 pm A Call to Order Study 1

KEYNOTE Is there space for art outside Should artists COMMIS- Kathleen Ritter and Artifact Institute DEBATES of the market and the state? professionalize? SIONS James B. Maxwell Tim Dallett and Adam Kelly Cinema / Artist-run culture Cinema / As artists have taken Call to Order is the transla- Recent years have seen rapid has emerged in part as an on the creation of artist-run tion—into musical sound—of growth in artistic activities Two evening keynote events alternative to the market and organizations or have turned Two works of art have been the meeting minutes of the using quasi-institutional will follow an Oxford debate the limitations market-driven themselves or their practices specially commissioned for In- organizations behind the terminology and procedures. structure to elicit concise and priorities have placed on into institutions, their roles stitutions by Artists, using the Convention (PAARC, Fillip, Words like “Centre”, “Institute”, dynamic delivery of ideas the artist in terms of creative have expanded, taking on the surplus production of orga- and ARCA). Call to Order uses “Laboratory”, and “Office” fig- from presenters. To regulate autonomy. Highly dependent work of curator, administrator, nizational processes such as a prosaic form of administra- ure prominently in the names the debate a moderator will on state sources of funding critic, educator, publicist, and ‘information’ and ‘procedure’ tion as material for creative of artist-initiated entities. call upon speakers consisting in many contexts, artist-run so forth. While the polyva- to generate art, simultane- production. Musical scores What accounts for the impulse of two teams of three partici- culture has, to some degree, lence of contemporary artists ously enacting and comment- are created from the meeting to project agency and author- pants each who will take posi- forfeited autonomy to the has enriched institutions with ing upon the institution as a minutes of each organization ship through an impersonal tions in response to questions state in order to meet bu- resources and support, any malleable phenomenon. by mapping Robert’s Rules of entity rather than through the posed by the program. Each reaucratic funding require- reciprocity remains subject to Order onto the implied rules figure of the individual artist? debater will respond with an ments or to avoid censorship debate. The professionaliza- of Piston’s Harmony and using opening proposition or op- and ideological conflict. In tion of the artist, arising as both texts as comparative To examine this tendency, the position, a general debate of this light, the “state vs. the a consequence of artist-run guides. The graphical scores Artifact Institute has devel- ideas, and a final summation market” dichotomy signifi- institution building and the are then given to musicians to oped Study 1. The project of position. All members of cantly moulds contemporary blurring of professional roles interpret and perform. involves the administration of the audience will comprise artist-run activity including inherent in such activity, may a survey, analysis of the data the “floor” and will have an the means of production and limit artistic potential in that Call to Order is based on the collected, and the production opportunity to determine the distribution for contemporary artists take on increased proposition: What does an of a report. winning team. art. The first keynote debate administrative and curato- organization sound like if it will examine this dimension of rial responsibilities, among operates in the minor mode? Study 1 uses standard survey Moderator artist-run culture by focusing others, at the opportunity cost Using Deleuze and Guattari’s methodology and adheres to John O’Brian on the grey zone, if there is of artistic production. In the idea of “minor” practice as generally accepted protocols one, between reliance on state second debate of the conven- more capable of variation and for quantitative research. programs and policies, and tion, presenters will deliber- change than its “Major” coun- Multivariate statistical analysis the vicissitudes of the market. ate on the many roles of the terpart, Call to Order charts will be performed on ques- contemporary artist, making an organization’s tendency tionnaire data to develop the case for and against his or to work against established mathematically valid infer- Team A (for): her professionalization. models in order to produce ences regarding relationships something unique, unpredict- between survey categories. Deirdre Logue able, and in constant move- A report of the analysis results Matei Bejenaru Team A (for): ment, much like the minor will be produced in electronic mode in music. and print formats. Jaleh Mansoor Julia Bryan-Wilson Jeff Derksen Team B (against): Live Performance Survey Terminals Candice Hopkins Dirk Fleischmann October 14, 1 pm Conference attendees are Goldcorp Centre for the Arts invited to participate in Gregory Sholette Team B (against): Simon Fraser University Study 1 throughout the event Slavs and Tatars World Art Centre at computer kiosks set up in Tania Bruguera the Media Lounge located on Sam Gould Performed by: the Mezzanine of the 3rd floor Peggy Lee (Cello) of the Goldcorp Centre for the Claire Tancons Jon Bentley (Clarinet) Arts, Simon Fraser University. Chris Gestrin (Piano) Event Schedule Resources and Presentations

PRINT Oct. 12, 1 pm As part of the Print Centre, Launch: Donato Mancini: Fillip presents Slide Shows, CENTRE Resources with Malaspina Print- a specially commissioned makers Sociery, Vancouver project by French curator Charlotte Cheetham. Tak- Oct. 12, 5 pm ing the form of an ongoing During Institutions by Artists, Talk: Sean Dockray: series of video presentations Fillip is pleased to present a AAAAARG! Five failures by publishers, designers, and series of free, parallel events artists, Slide Shows offers one in the lobby of SFU Wood- Oct. 12, 6 pm possible cross section of a ward’s that investigate the Talk: Charlotte Cheetham on newly emergent landscape of material culture produced by curating design contemporary art publishing. the institutional practices of The project includes contri- artists. The Print Centre will Oct. 13, 1 pm butions by AND Publishing, feature talks, launches, and Launch: Yishu, special issue on An Endless Supply, Michalis screenings by conference Institution for the Future with Pichler, Elias Redstone, James presenters and attendees. guest-editor Biljana Ciric and Langdon, and David Senior, editors Keith Wallace and Kate among others. Presented in collaboration Steinmann with a temporary book store hosted by Motto Books (Berlin) Oct. 13, 5 pm Institutions by Artists: Volume Screening: Crass: There is No One presents a collection of Authority but Yourself (in the texts addressing artist-run cul- Djavad Mowafaghian Cinema) ture and initiatives around the globe. Newly commissioned Oct. 13, 6 pm essays include AA Bronson’s Talk: A Story of the Museum of “Transfiguration of the Bureau- American Art, Berlin crat;” Vincent Bonin’s “Malaise dans le réseau: sur l’absence Oct. 14, 1 pm de la critique institutionnelle Launch: This book is a Class- au Canada”; and Peta Rake’s room (Passenger Books, “Inclusivity, Difference, and Berlin) with former-Bauhaus Isolation: Artist-Run Spaces student Otti Berger (embodied in Brisbane,” as well as a con- by T’ai Smith). versation with Ola Khalidi and Diala Khasawnih of Makan, Amman, Jordan. All events are free and open to the public—no tickets neces- Fillip Editions sary. Unless otherwise noted, 19 × 11.5 cm events are in the lobby of SFU 2012, English and French Woodward’s. $20.00 -- S E S S I O N S --

DAY # NAME TIME VENUE

01 01 Facts & Fictions 10:30 WAC 01 02 Facts & Fictions 10:30 CIN 01 03 Intimate Institutions 02:00 CIN 01 04 Intimate Institutions 02:00 WAC 02 05 States & Markets 10:00 CIN 02 06 States & Markets 10:00 WAC 02 07 Promises & Practices 02:00 CIN 02 08 Promises & Practices 02:00 WAC 03 09 Erehwon/Nowhere 02:00 CIN 03 10 Erehwon/Nowhere 02:00 WAC

-- S F U V E N U E S --

CODE NAME FLR

CIN Djavad Mowafaghian Cinema 3 WAC Djavad Mowafaghian World Art Centre 2 --- Media Lounge 2+3

BREAKFAST 9:00 am Daily Atrium in front of W2 Media Cafe

LUNCH Friday October 12, 1:00 pm Saturday October 13, 1:00 pm Sunday October 14, 12:00 pm Atrium in front of W2 Media Cafe -- K E Y N O T E P R E S E N T E R S -- # NAME COUNTRY

# NAME COUNTRY 04 Chantawipa Apisuk Thaïlande 04 Jakob Jakobsen Denmark 1 Dirk Fleischmann Germany 04 Deirdre Logue Canada 1 Matei Bejenaru Romania 04 Allyson Mitchell Canada 1 Deirdre Logue Canada 04 Skeena Reece Canada 1 Slavs and Tatars Eurasia 04 Scott Rogers Canada 1 Gregory Sholette US 04 Justin Patterson Canada 1 Jaleh Mansoor Canada 05 Matei Bejenaru Romania 2 Tania Bruguera Cuba 05 Tania Bruguera Cuba 2 Julia Bryan-Wilson US 05 Corinn Gerber Switzerland 2 Jeff Derksen Canada 05 Gregory Sholette US 2 Candice Hopkins Canada 05 Pauline J. Yao China 2 Sam Gould US 06 Jeff Derksen Canada 2 Claire Tancons Guadeloupe 06 Sean Dockray US 3 AA Bronson Canada/US 06 Dirk Fleischmann Germany 06 Andrea Francke UK 06 Gabriel Menotti Brazil 07 Claire Fontaine France 07 Jaleh Mansoor Canada -- S E S S I O N P R E S E N T E R S -- 07 Pelin Tan Turkey 08 Warren Arcand Canada # NAME COUNTRY 08 Tim Dallett Canada 08 Adam Kelly Canada 01 Vincent Bonin Canada 08 Chris Fitzpatrick US 01 Jennifer Cane Canada 08 Sam Gould US 01 Al Razutis Canada 08 Post Brothers US 01 Louise Hervé France 08 Peta Rake Australia 01 Chloé Maillet France 08 Julia Bryan-Wilson US 01 Gabi Ngcobo South Africa 09 Brad Butler UK 02 Slavs and Tatars Eurasia 09 Christopher Cozier Trinidad 02 Marie-Josée Jean Canada 09 Bastien Gilbert Canada 02 Walter Benjamin Germany 09 V. Januškevičiute Lithuania 02 Eva Weinmayr UK 09 Karen Mirza UK 03 Candice Hopkins Canada 09 Claire Tancons Guadeloupe 03 Laiwan Canada 10 Anne Bertrand Canada 03 Isabelle Pauwels Canada 10 Biljana Ciric China 03 Mounira al Solh Lebanon 10 Ola Khalidi Jordan 04 Chumpon Apisuk Thailand 10 Diala Khasawnih Jordan 10 Jonathan Middleton Canada Funding Partners Presenting Partners The Pacific Association of Artist Run Centres was estab- Canada Council for the Arts SFU Woodward’s lished in 1988 as an association representing artist-run centres Heritage Canada The Andy Warhol Foundation in British Columbia. Member for the Arts organizations are artist initi- British Columbia Arts Council ated and artist controlled. Goethe Institut City of Vancouver Presenting Members: Consulat général de France 221A Artist Run Centre Simon Fraser University à Vancouver Access Gallery School for the Artspeak Contemporary Arts Audain Gallery Cineworks SFU Woodward’s Fillip Simon Fraser University Gallery Gachet Library Contemporary Art Gallery grunt gallery Live Biennale Morris and Helen Belkin Malaspina Printmakers Society Social Media Sponsor Art Gallery New Forms Festival Or Gallery Hootsuite Emily Carr University Other Sights for Artists’ of Art and Design Projects Association Unit/Pitt Projects Yishu Journal of Contem- VIVO Media Arts Centre porary Chinese Art W2 Community Media Arts The Western Front

Consulat général de France à Vancouver General Information Program Committee: Conference Venue: Kristina Lee Podesva (Chair) Goldcorp Centre for the Arts Institutions by Artists is orga- Lorna Brown Simon Fraser University nized by the Pacific Asso- Jeff Khonsary 149 West Hastings St. ciation of Artist Run Centres Jonathan Middleton Vancouver, BC V6B 1H4 (PAARC), Fillip, and the Artist- Anton Vidokle (Adviser) Canada Run Centres and Collectives Pelin Tan (Adviser) Conference / La Conférence Mailing Address: des collectifs et des centres ArcPost Contributing Editors: Fillip d’artistes autogérés (ARCA). Kristina Lee Podesva 305 Cambie St. Allison Collins Vancouver, BC V6B 2N4 © 2012 by the Program Canada Committee, Fillip, and PAARC Project Manager: Lorna Brown Web Addresses: All rights reserved. Event Manager: Allison Collins www.arcpost.ca www.fillip.ca Research and Communi- www.paarc.ca cations Assistants: www.arccc-cccaa.org Jesi Khadivi Mariane Bourcheix-Laporte Design: The Future