About the Black Holes residency and workshops in Riga and other places in Latvia
This article gives an overview of the current Swedish political landscape, its potential consequences on the cultural policy and funding system, and how they could affect small artist-run initiatives.
The Artist-Run Space of the Future is a compendium of resources and ephemera on artist-run culture, gathered by the Institute for Applied Aesthetics. Inside is a collection of resources, essays and ideas concerning the future of artist-run spaces and their evolving models of operation and connectivity.
A Matter of Value is new publication which aims to offer artist-run initiatives a series of practical mechanisms to communicate the inherent and sustained value of their work. It is designed to support artist-run initiatives to define their social impact, articulate their social value, and provide internal reflective exercises for artist-run initiatives.
In the final episode of the ARNE podcast, Ormston House’s Niamh Brown speaks with Limerick-based artist and curator Dylan Ryan. Since graduating in 2021, Dylan Ryan has been an active member of the Limerick artist-run scene. In this episode Niamh and Dylan discuss how they became involved in the ARNE project and what networks and relationships have grown out of the experience.
PHONEBOOK is an ongoing Threewalls publication, which is a directory of independent and noncommercial art spaces, programming, and projects throughout the United States and
collections of critical essays and practical information written by the people who run them.
Survey on self-reflection and conclusions of the self-reflection survey that was taken on the 2nd of July in The Hague during the project Back to Normal.
This is the second attempt to compile stories about the genesis and evolution of contemporary art in Lithuania from the period of Revival (1987) and the restoration of Lithuania’s independence to this day. History unfolds in the critical texts by art critics and artists themselves, as well as in first-hand accounts – conversations with the initiators of art events.
This is one of the first attempts to compile stories about the genesis and evolution of contemporary art in Lithuania from the period of Revival (1987) and the restoration of Lithuania’s independence to this day (2011). History unfolds in the critical texts by art critics and artists themselves, as well as in first-hand accounts – conversations with the initiators of art events.
MAA – Museum for the Administration of Aesthetics is a nomadic entity, a research-based nomadic project concerned with issues surrounding the city and the social interactions involving architecture and the urban environment. As its current Director, Paul de Guzman founded MAA in Vancouver in 2010 and collaborates with individuals and organizations on sitespecific projects and curatorial presentations.
Linking Tania Bruguera’s Arte Útil (Useful Art), the function of art institutions and cognitive-science, Stéphanie Bertrand proposes a new model of curating in this essay. Exploring curatorial practice in relation to usership and the mediation of art; Bertrand considers epistemic action that pushes the practice beyond traditional forms of passive participation in art.
Scanned article from the catalogue of the first edition of the art fair Supermarket, listing Swedish artists-initiatives 1899–2007
In this essay, Haizea Barcenilla reflects on time, artist residencies, and the precarity and sustainability of artistic labour. In an art world that demands more of the artist, Barcenilla uses the Ormston House Artist-in-Residence scheme as a case study that explores a feminist approach to working with and ultimately supporting artists.
In Search for the Artist-Run-Baltic. Artist run spaces in three Baltic Countries – Lithuania, Latvia, Estonia.
A landscape of artist-run spaces active in Europe today, testimonies from the interstice between institutions and market.
“This paper focuses on the contemporary phenomenon of artists who, because of institutional changes in the social organization of the visual arts, become their own gatekeepers by running their own galleries, managing their own exposure and re-establishing direct contact with their audiences and communities (…).”