Doris Salcedo, site-specific installation, Istanbul Biennial, 2003.
The large-scale international contemporary art survey it may be argued acquired its ‘modern’ format in the late nineteenth century with the first biennale held in Venice in 1895. In the last one hundred years this exhibition type has become a prolific phenomenon. These exhibitions are undertaken by an enormous and diverse number of countries, cities and communities across the globe with formats both distinct and yet increasingly similar.
Many of these exhibitions follow the ‘Venice model’ with international pavilions, curated exhibitions and associated independent exhibitions in addition to the extensive support (public) programming. Others comprise single ‘all encompassing’ international surveys, held in single or multiple venues, some more tightly thematic than others. These two models of course inadequately describe the myriad of other formats these exhibitions take. In Australia alone, at one point you had four distinct exhibition modes located in Sydney, Brisbane, Melbourne and Adelaide.
However despite the gamut of artists, exhibitions, formats and contexts, criticism of the international contemporary art survey is frequently focused on the subject of homogenisation.
This body of research will seek to locate criticism of the international contemporary art survey on the World Wide Web focussing specifically on the subject of homogenisation. This criticism will be contextualised within a general critical framework looking at the contribution such exhibitions/events contribute towards general debates on contemporary art practice within both global and local contexts.
URLOGRAPHY
1. http://www.pilotlondon.org
PILOT is an independent not-for-profit initiative led by artists and independent curators that provides an ongoing support network and annual large-scale independent forum for emerging artists who do not have commercial representation.
For PILOT:1, one hundred prominent and emerging curators, critics, artists and collectors were asked to nominate artists who fit the project remit. From these, one hundred artists were selected to take part in the event. The participants in PILOT:2 were selected in the same manner.
The project is designed to be a platform, and catalyst, where information is exchanged and contacts made between artists, curators, collectors critics and gallerists. These contacts are made via the PILOTLONDON website which operates as an ongoing updated archive, as well as through the informal and dynamic environment of the annual event.*
2. http://www.looseprojects.net
Loose Projects is a new artist run initiative that has arisen from the aftermath of the Scott Donovan Gallery. While Scott has now gone on to develop Scott Donovan Projects many of the artists he promoted have joined together to transform the artists' relationship from a commercial gallery to an artist run non-profit space.
Loose Projects is a new context for consideration and innovation in artist-determined practice via an expanded program of exhibitions, editions, artist talks & interviews, writing, feedback, publications, archives and events. Fostering a generative and responsive platform to host critical dialogue amongst local contemporary practitioners, Loose aspires to a creative and proactive model for autonomous and sustainable artist initiatives.*
3. http://www.apexart.org
apexart is a not for profit contemporary visual arts organization based in New York City with an exhibition space, an international residency, various ongoing public programs, and a conference series. apexart is committed to cultural and intellectual diversity with a focus on contextualizing international contemporary art and culture. The focus of the organization is on ideas, and our programs and printed materials are intended to encourage thought and commentary and to stimulate public dialogue about contemporary art, enriching the cultural landscape of New York City.*
4. http://www.situations.org.uk
Situations is a research and commissioning programme devised to investigate the significance of place and context in the commissioning and production of contemporary art. It seeks to contribute a unique network of debates and projects, and a body of research, which radiates from its Bristol base across South-West England, nationally and internationally.
Situations forms part of the place research centre at the University of West England, Bristol and is developed in association with such partners as Arnolfini and the University of Bristol.*
5. http://www.artthrob.co.za
ArtThrob is South Africa's leading contemporary visual arts publication, reporting on the national arts scene and the involvement of South African artists in the international art world.*
6. http://networkcultures.org
The Institute of Network Cultures (INC), set up in June 2004, caters to research, meetings and (online) initiatives in the area of Internet and new media. The INC functions as a framework within which a variety of studies, publications and meetings can be realised. As indicated by its name, the INC is also active in setting up and maintaining networks. Not only does it facilitate, but also initiate and produce its projects. Its goal is to create an open organisational form with a strong focus on content, within which ideas (emanating from both individuals and institutions) can be given an institutional context at an early stage. The INC has formulated the following research programmes: Network Studies, Network Practice, New Media & Public Domain.*
* URL descriptions are lifted directly from the internet sites