AMSTERDAM 12-14 ARALIK

Aralık'ta Amsterdam bir törenden ötekine koşuşturan Türkleri ağırladı.
Kültür ve Turizm Bakanı Atilla Koç ve ona eşlik eden heyet, Dam meydanındaki Niewue kilisesinde düzenlenen İstanbul, Şehir ve Sultan sergisinin açılışını yaptı. Nisan ortasına kadar sürecek olan sergi Istanbul’u geçmişi ve bugünüyle Hollanda izleyicisine bir çırpıda göstermek amacını taşıyor ve büyük bir kültür paketi programının ana etkinliği. Dört müzeden (Topkapı Sarayı, Türk İslam Eserleri Müzesi, Sabancı Müzesi ve Sadberk hanım Müzesi) derlenmiş olan değerli eserlerle Kapalıçarşı’nın turistik estetiğini yansıtan malların bir arada kilisenin içine yerleştirilmesi anlaşılan küratörleri zorlamış. Değerli tahtların altına makine halılarının yayılmış olması, ya da çinilerin sergilendiği dev panoların hemen yanında Mahmutpaşadan derlenmiş plastik ev eşyalarının ve baharatların yer alması nasıl yorumlanır, bilemem ama profesyonel gözler için oldukça sarsıcı bir görüntüydü. Genel anlamda bu sergi turizme hizmet eden bir kültür etkinliği olarak değerlendirilebilir ve kuşkusuz orta sınıf Avrupalının oryantalist düşlerini doyurur. Eğer amaç buysa, sorun yok.

Bir başka grup ( Nazan Ölçer, Ergun Çağatay, Tevfik Balcıoğlu, Vecdi Sayar, Özdem Petek ve ben) Türkiye’de sanat ve kültür projelerinin AB kaynaklı destekçilerinden olan Prince Claus Vakfı’nın 13 Aralık’ta 10. yıl ve ödül törenine davetliydi. Vakıf her zaman olduğu gibi Afrika, Güney Amerika ve Asya ülkelerinden sanatçılara ve kuruluşlara ödül yağdırdı. Prens Claus, 1985’de Roma’da Uluslararası Gelişim Derneği’nin 18. Dünya Kongresinde yaptığı konuşmada “Birinci dünya, ikinci dünya, üçüncü dünya; benim için tek bir dünya var. Ya tek bir dünya ya da hiç!” diyerek, kurduğu vakfın politikasını belirlemiş. Vakfın 10. yıl kitabında, 1997’den bu yana desteklenen sanat ve kültür projelerini gösteren harita bu tek dünya düşüncesinin nasıl gerçekleştiğini ortaya koyuyor.

Amsterdam limanında yeni yapılmış olan the Muziekgebouw binasında Hollanda kraliçesi Beatrix’in ve ailesinin himayesinde yapılan ödül töreninde Prens Friso van Oranje-Nassau 100.000 EURO’luk Prince Claus büyük ödülünü Iran’lı grafik tasarımcısı Reza Abedini’ye verdi. Afganistan’dan performans sanatçısı Lida Abdul,Jamaica’dan kültür tarihçisi ve yazar Erna Bodber, Kenya’dan yayıncı Henry Chakava, Nijerya’dan Comittee for Relevant Art (CORA) derneği, Haiti’den şair ve yazar Franketienne, Pakistan’dan tiyatro yönetmeni ve kadın hakları savunucusu Madeeha Gauhar, Filistin’den Al Kamandjati(Keman Okulu), Papua Yeni Gine’den sanatçı, ve küratör Michael Mel, Mali Ulusal Müzesi ve Lübnan’dan küratör Christine Tohme diğer ödülleri paylaştılar. Bilindiği gibi, Türkiye’den Hasan Saltık 2003’de Prince Claus ödülü almıştı. Bu yıl Prince Claus Vakfı Ergun Çağatay’ın “Türkçe Konuşanlar” kitabının basımını destekledi.

Bu iki etkinlik iki ülkenin kültür politikasını yansıtıyordu: Birisi küresel sanat ve kültürün hamiliğini üstlenip dünyayı etkilemek, ötekisi kendini tanıtma/ kabul ettirme çabasıyla sanatını/kültürünü paketlemek.

Beral Madra, Aralık 2006

Radikal, 18 Aralık 2006

Forum European Cultural Exchanges Discussion panel: Borderlines
25/11/2006,
Hellenic American Union (theater)
Part A: Theoretical framework
Ziauddin Sardar: “The irrelevance of Borders”
Pier Luigi Tazzi
Part B: Projects
Louisa Avgita, introduction
Beral Madra “Different Perspectives in Borderlines – States & Concepts”
Srdjan Jovanovic Weiss & Katherine Carl: Lost Highway Expedition
Angela Melitopoulos: Timescapes –Corridor X
Memos Filippidis: Porous Borders - The Green line of Nicosia
Β+Β (Sophie Hope and Sara Carrington): Reunion
Heath Bunting: BorderXing Guide
Theofilos Traboulis: Maria Papadimitriou



Beral Madra's contribution for the Forum in Athens

In the 80’s and 90’s the world was still polarized and we were discussing the order of center and periphery. The world was divided by real and conceptual borders even walls, which designated the center to an absolute sovereignty on the periphery. Now we tend to speak about an all encompassing global world, yet again with multifarious states and concepts of borderlines.
In an era of mass migration, globalization and instant communication we cannot trust a map reflecting the borderlines between the countries. Illegal immigration is a vast business, global capitalism erases all national distinctions and instant communication accelerates the interaction of peoples and systems in an immeasurable way.
We are used to think of a border as a fence, a sea, a river or a mountain pass. Today's borders cannot be defined as such. They are transient, constantly remade by technology, new laws and institutions, and the realities of global capitalism -- illicit as well as legitimate. With borders much more indefinable, opportunities for profit multiplied and cross-border activity or illegal emigration boomed. The fluid, unpredictable nature of modern borders is evident even among the most geographically isolated and remote nations on earth. On the other side the borders became the entrance to horror, abyss and death.
Paradox is that throughout the 90’s art has profited from the cross-border activities and legal or illegal emigration. Artists and different art making forms and aesthetics traveled to the so called main-stream art centers and transformed the content and aesthetics of contemporary art. Yet, the reverse of this opportunity displays the reality that there is a mainstream art world and it is not so accessible.
Today, borderline art and art making is the hot topic of all debates and exhibitions. With this borderline, we mean the ambiguous zone between interconnected territories/fields, i.e. established orders or different systems. This zone is open to sides, giving opportunity of unpredictable extension and obliterating or disturbing the control and power of the established orders or systems to each other. These territories may represent country blocks, geographical regions or even cities with their heterogeneous systems, even if the global economy and politics are the ubiquitous cover. The border zones can exist as patrolled borders, as intersecting margins or as real and virtual networking.
According to the medical terminology, borderline is not as safe as in the socio-political sphere. Borderline personality disorder is a symptom of major childhood traumas. The so called borderline subjects are giving histories of such trauma, including physical abuse, sexual abuse and witnessing serious domestic violence. Even though now borderline productions in art are being evaluated as attractive, motivating, inspiring and “neo”, we should look into the prerequisites, rationale and roots of this production. There may be similarities between the medical and artistic/cultural meaning of borderline. The creativity emanating from the borderlines of different memories, systems, orders, habits and everyday life realities may not necessarily have welfare, peaceful, constructive and encouraging background.
Here I would like to quote Julia Kristeva. In an interview she was asked: “Given the fact that you have written a lot about the importance of the so-called "sick" states of mind, could you tell us whether they are related in any way to Art? Would you see Art as the means of healing them or do you see it as an independent entity? Is Art a sort of "love" for you (the way Freud would have it) and a sort of human cure?”
Kristeva replies: It has always shocked commentators when I affirm my agreement with the ancient Greeks who viewed art as catharsis or purification and I would add that it is a sort of sublimation for the "borderline" states, in the broadest sense of the term, that is, it comprises those characterized by fragility. If we analyze contemporary art, we get the impression that two types of fragility are examined by contemporary artists. On one hand, we have perversion, that is, all sorts of sexual transgressions…They testify to the existence of these states, as well as that of a certain desire to make them public, or even share them with others, that is, to take them out of their closet which is a soothing action after all despite its commercial aspect since one turns a "shameful thing" into something positive. So you see, here we have something that transcends the notion of "cure" and is at times something gratifying. Some think that these works are scandal-oriented; others think that they rejoice in ugliness, yes, certainly there are elements of such orientations in them, but, on the other hand, the existence of these works is also a research -- often in a very specific manner -- on the anticipation of difficulty of living.
This is her approach to the relation of contemporary art making and all borderline states (psychological or sociological). The practice has shown us that art has played a curing role – maybe not directly but in a disseminative way - in this matter. The contemporary art works build up a rich and vast cognitive space for awareness and consciousness.
In the same interview there is also a passage on Voyeurism, which for contemporary art is the most used tool or stratagem to explore and exploit the borderline states in individual and social life.
Q: Does contemporary art have to do with Voyeurism, as is the case with the most recent literature nowadays which purports to describe the most intimate states of the body and the soul?
Kristeva: Absolutely! This is ever the case with literature and when it does not try to treat perversion, it is deals with psychotic states, that is, the states of identity loss, the loss of language, the borderline cases which cohabit and coexist with delirium and violence, but all of this does not have to bear the imprint of something negative. Some think that these works are scandal-oriented; others think that they rejoice in ugliness, yes, certainly there are elements of such orientations in them, but, on the other hand, the existence of these works is also a research -- often in a very specific manner -- on the anticipation of difficulty of living. And Art can play an important role here since it can contribute to a certain creative assumption of such a difficulty. Nevertheless, I personally remain a bit skeptical of a certain drift or tendency of contemporary art to content itself with such, so I believe feeble appropriations of these traumatic states. We remain here at the level of the statement of the clinical cases with almost documentary style photography of these cases wherein the investment and the effort made in the exploration of new forms or new thoughts remains less visible. So, it is something regrettable which every so often leaves me with the impression that when I visit museums or read certain art books, I am looking into psychoanalytic or even psychiatric archives. But, perhaps this is an indispensable experience.
Interview conducted by Nina Zivancevic, In Paris, March-April 2001 / www.16beavergroup.org / mtarchive / archives / 000285.php)
When we consider art making and culture industry manifestations within the context of European integration process at the local and regional level, we can see that there are borderline conflicts in memory blocks, ethno-cultural frontiers and in system discrepancy. Or, if we look to the mega-poles we can see that there are layers of different marginal groups and districts which merge in the cultural or commercial centers of the city. The borderline realities and stories are utilized by artists to apply their statements and criticism through various forms of art making. With their work they act as transmitting agents between the social classes which in turn serves democracy in a clandestine way. Borderline strategies of today’s art making is a part of democratization process.
Last month, right here in Athens an installation was realized for the most crucial borderline problem of our region. The border in geographical and official meaning is now on the acute stage of nation state ideology, police state, racism and discrimination. It is being performed in its extreme models. Illegal immigration or refugee movement, the logical consequences of global economy of politics are being swept up away from the city centers to the city margins and further to the actual borders.
Kalliopi Lemos, in her work “Crossing” installed on an abandoned factory ground in Eleusis, tackles with this border and borderline people problem in a very audacious way. This installation of abandoned boats of illegal emigrants and documentation of their names needs close attention and should be preserved there for the global viewer.
To this enlightment issue I will present two examples of borderline art and culture operation in Anatolia
“A consumption of Justice”, A meeting and exhibition of artists from South Caucasus, Middle East and the Balkans, realized in Diyarbakır Art Center, May-June 2005. Diyarbakır with its historical background and Kurdish identity is the cultural capital of South East region of Turkey. The city is a borderline zone in many connotations: Geographically the city is in contact with Middle East and South Caucasus; culturally it is representing the difference within the homogenous national state ideology; in reference to the trauma it endured during the 90’s civil conflict the borderlines between the social classes are significant. In 2000, the art center was placed within this complex structure as a cultural and artistic laboratory for local and international communication and exchange. This exhibition was one of the major events within the initiatives and goals of the center.
Sinopale, the 1st International Sinop Biennial was realized between August 15- September 3 with exhibitions, installations, interactive activities and performances in the historical arsenal and in different public and private spaces. Sinopale, designated as the first biennale on Anatolian territory, is conceived by Melih Görgün, an artist who was born in this city with the support of local and international individuals and institutions.
The conceptual frame of the first Sinopale is determined as SEY / THING.
Sinopale aims to project the state of being a "thing" in contemporary art, and comprises propositions which will provide confrontations of the individual with the state of being "art".
Curator: T. Melih Görgün
For further information: www.sinopale.org, www.sinopale.net, www.sinopale.com, www.europist.net/sinop



GÖLYAZI PROJECT
CONCEPT AND ORGANISATION: GÜL ILGAZ
Gül Ilgaz developed a residency program in a 3500 old village on Apolyont Sea near Bursa. Participants Volkan Aslan- Orhan Karakaplan, Pınar Yeşilada, Roş, Burcu Arısoy, Shirley Wiebe, M. Ali Uysal, Atakan, Jeanne Lacombe, Ressam Dr. Nazan Azeri, Doreen Maloney, Renato Hauser, Maria Sezer Michels, Lorrain Field, Başol, Neşe Çoğal ve Nezir İçgören used materials collected or found in the village for their wall paintings and installations which will be preserved.


BERNARDO GIORGI
PATTERNS (ongoing project)
The project “Patterns” is based on the idea of overlapping and matching the body – the boundary as to the external world – to territory. By conceptually positioning the body over the territory, it is possible to make a body-territory mapping, through clothing. Both, nature and politics delimit/cut territories, move frontiers. But behind the moving of lines, the power-games and strategies, extremely deep and harsh signs are hidden. Cutting and redesigning territories, as for example the Oder-Neisse line between Poland and Germany or those borough artificially/specifically designed for certain social classes – Mirafiori in Turin or Scampia in Naples – is related to political as well as social, logics and necessities; there are marks left in history and memory, on our skins, in our bodies.
http://www.borders.de/patterns/index_eng.htm
The discussion includes how today’s art can be linked to the gendering of different art forms, of interaction between ‘high’ and ‘low’ and the notion of cross-culturalism. The discussion extends to rationality and notions of Nature with regard to primitiveness, femininity and masculinity. I hope to show that constructions of gender ideologies can correlate with an actual historical situation.
In "Patterns kiosk", summer 2004, the clothes designed reproduce areas and buildings from the map of the city of Kostrzyn (Poland). They were made by two tailors, who during the course of the exhibition "Dialog Loci", in Kostrzyn, worked in a small kiosk inside the frontier bazaar - trans-frontier market. Visitors could choose the patterns and fabrics they preferred for their clothes.
"Patterns Torino" (Nicola-Fornello Gallery, Turin), is the logical continuation of "patterns kiosk" at the Polish-German border: here also, a tailor manufactures clothes designed on portions of the Turin territory marked by profound social characteristics: the Mirafiori, Vanchiglia, Stadio delle Alpi and San Salvario borough
In the first room, the pattern-territory is enlarged and painted on the walls whilst piles of fabric patiently wait, steeped, to take form. The table and sewing machine, covered with bobbins and threads, frills and cuttings, in the second room, testify to the tailor's weekly work. Dressmaker's dummies wear the first completed models and small collages on the walls reproduce the whole project. The paper patterns, offered to the public, may be freely collected and used.
Patterns is currently launched in Istanbul.

Beral Madra, November 2006

Photos: Musee Branly, Institute du Monde Arabe, Palais de Tokio, Ramon Tio Bellido, Ciaran Bennet, Ahu Antmen...

40th AICA CONGRESS 2006

Paris, 15 – 20 October

CRITICAL EVALUATION RELOADED

The Symposium examined changes and new directions in art criticism that have emerged with the shift in the prevailing artistic climate. With the globalisation of the last few years, we have observed the increasing importance attributed to curating, as an exercise in art criticism, as well as the rapid growth in the role of the internet, as a new medium, not only for communication, but for critical comment.

These changes derive logically from several related developments, starting with revisions in training and teaching methods practised in art schools and universities today, and the greater priority assigned to the new field of curatorial studies.

The current situation strongly reinforces a tendency to regard the exhibition as a performative medium, closely linked to a powerful economic system. This is also connected with the resurgence of interest in alternative, and often ephemeral, responses to the changing context of artistic creation. If art criticism is adequately to perform its task, it must respond to the realities of the new situation and attempt a better definition of its specific goals and systems of evaluation.

The Congress is organised under the auspices of UNESCO; is funded and sponsored by The Getty Grant Program, the DGLF/ Délégation Générale à la Langue Française, the Instituto Cervantes/ Madrid, and the Prince Claus Fund / The Hague; with the support of the Roberto Cimetta Fund for artistic mobility in the Mediterranean; with additional assistance from the Irish Cultural Centre/ Paris, the Instituto Cervantes/ Paris; and the support from the Palais de Tokyo, the INHA, the MAC/VAL, the MEP and the Ensba.

International Symposium

’The Aesthetics of Resistance’

Műcsarnok / Kunsthalle, Budapest

Friday 29.09.2006

Moderator: Dóra Hegyi

Tour in the exhibition with Roza El-Hassan
Éva Fodor sociologist, Budapest

Overpopulation debates
Emese Süvecz, free-lance curator, Budapest

Exhibiting contradictions
Gerald Raunig, philosopher, Vienna

Art and Revolution

Saturday 30.09.2006

Moderator: Bea Hock

Beral Madra, curator, Istanbul

Arab Lofty, documentary filmmaker, Cairo

Dieter Lesage, philosopher,Brussels-Berlin

Resistance, radicality, resignation
Pál Szacsva y artist, Budapest

From the perspective of the artist

Concept: Róza El-Hassan, Dóra Hegyi, Bea Hock

Organizer: tranzit. hu

Co-organizer: Agency for Contemporary Art Exchange (ACAX), Budapest

STATEMENT FOR THE AESTHETICS OF RESISTANCE, BUDAPEST,

SEPTEMBER 2006

The current global-scape shows hells and paradises developed by people and societies of so called different cultures or dissident cultures who are in turn obliged to endure its consequences. Against the motto of globalization that cultures are in mutual understanding and reciprocity, this division exists between regions, countries and within all societies, fluctuating in dimension and in enormity of abuse ranging from repression, violence, war and terror.

Yet, it is also amazing that artists and art events still occupy a unique role in the global context– even in the most chauvinistic countries – and create the civilized face of humankind.

Local and international biennale, continuous networking, residency programs, traveling exhibitions, virtual space information and collaboration are the labels and designations of this fact.

Through a diversity of approaches, which vary from criticism, opposition, confrontation to resistance the artists and art people explore and reveal new environments and behaviors that words alone are incapable of describing and the media is powerless in simulating.

The conviction that in the long run, art theory and art making can tackle issues, stir activity and divert the public attention is still prevailing. It is still believed that art and art making can help to create solutions to conflicts and even serve as a psychological mapping that can help social anxieties come out in the open. Particularly in political conflict regions and in crisis moments most artists and art people work for social and environmental justice. This activity may not be instantly visible, but beneath the surface it builds a resisting web.

The new agenda in the contemporary art production means that the artist and the curator look deeply into the thought, soul and behavior of individuals in culturally different societies within the context of globalization.

This new agenda requires a new philosophy and aesthetics which points to existing conflicts and conditions of mutual oppositions that call for war or resolution. The new philosophy is routed in empathy and reciprocity; that means artists and curators travel into the labyrinths of the common psychology and behavior of the society, into the complex nucleuses of the city and into the backstage of local politics.

The opposing conditions of current life are reflected in art works as universal correlations or incongruities of the conflicts in different cultures and acquire anthropological insight into human nature and behavior.

The mobilized artists and curators articulate within the politics of different and global. The global (or universal) makes it possible to recognize and show the particular; even if the particular does not mean unique in the modernist sense, but has its own complexities.

The artists and curators are able to accent the particular as a vital alternative to the viewer. Current aesthetics with its undeniable 20^th century background/memory is used as an exploration and challenging way of the relationship between the global and the local.

Global/universal serves as a ground of reconciliation and gives meaning to the particular represented in a work of art.

The new agenda for aesthetics is about how each side of the antinomy, of the conflicting groups of people becomes revealed in the other.

Repression, violence, injustice and other social ills are endured but quickly overlooked, dismissed or reckoned to be inevitable and unchallengeable. These problems are acknowledged all over the world, but in non-democratic or semi-democratic countries resistance to them is uncoordinated and inadequate.

Art, in these to be democracies and more obscure territories is being utilized as a coordinating tool to deliver a message or inspiration or information for the disempowered. Resistance art – which is in fact all art forms practiced in these territories-brings hidden knowledge out of the shadows. The historic roots, DADA and Fluxus, even if they are remote and foreign, give the artists many possibilities and experience models to penetrate into the social strata and daily life.

This has been the case in Turkey throughout the 80’s and 90’s and currently in the so called global South with its complex political, economical and social development. A new aesthetic of resistance is developing since the end of the cold war in South Caucasus and post-Soviet Asia; when the political agenda allowed individuals to build up their own agendas.

In most of these countries contemporary art is practiced outside of the official cultural policy and institutional culture i.e. the culture industry is schizophrenically divided into official and private spheres. The art practice and art making is exposed to the requirements of private sponsors and corporate culture policy. That means that artists and art experts are obliged to build multi-faceted strategies.

The aesthetic of resistance grows out of daily shifting realities and conditions either on the level of logistics of the art work (that means where and how it is presented) or on the level of statement and form (that means to find the most effective tool, style and form to present it).

The ideological edge and the critical meanings grow out of the stronger links of the artist to the life of the diverse communities in the city. One of the important aspects of the art of resistance is the reemergence of drawing/painting as a practical artistic medium, the exploration of humor and eroticism in art, and the regionalization or nationalization of Pop art.

Statements, messages, metaphors and stories can be conveyed in many forms like T-shirts, comics, zines and street actions with NGO’s, to more elaborate form like performances, in situ installations video and film shows and many other approaches, that are mainly realized in public spaces. Particularly young generation artists make art which is immersive and engaging; which can help build community and involve the viewer in rituals or processions; which can be an individual or collective effort; which is public or anonymous or clandestine. They continuously explore and find many alternatives to show their work to larger audiences. Another approach is to present the reality of a situation in a semi-documentary style.

As examples to these thoughts, I will show images of several exhibitions and artists initiatives: Art Caucasus, Tbilisi, 2005, Aluminum, Baku, 2005, A Consumption of Justice, Diyarbakır, May 2005; Sinopale August-September 2006, PİST, YAMA, Galata Perform, Istanbul and RadikalArt.

Beral MADRA, September 2006

Art Theorists’ Workshop
State Museum of Contemporary Art, THESSALONIKI
22 – 24 September 2006

Visit of the exhibition “Crossing the borders” at the Moni Lazariston and Warehouse 1, Port of Thessaloniki.
Brief presentation of the project “Visual arts in Greece” by the president of the Board of Trustees, Mr. George Tsaras. Concept, content, goals, perspectives.
Criticism of the project. Views of the participants
The role of public institutions and private agents in the formation and promotion of contemporary art.
National contemporary art scenes in a globalized, post-national surroundings. The issue of locality
Experience of similar projects in other European countries and U.S.A.
Proposals for the formation of a “national policy” for contemporary culture.

Photos: State Museum of Contemporary Art at Kolokotroni and at the harbour/ Henry meyric Hughes (AICA International President), Efi Strusa (AICA Hellas President).

THINK TANK AT TATEMODERN
12-15 july 2006
I participated in a two-day think tank and at the opening of Rem Koolhaas Serpentine Gallery baloon!
Tate Modern, the Serpentine Gallery, The Museum of Modern Art, New York, and the San
Francisco Museum of Modern Art co-organised a two-day 'think tank' on the
practice of programming public dialogue. The ‘think tank’ comprised a series of talks,
discussions and workshops to take place on the afternoons of 13 and 14 July 2006 at Tate
Modern, followed by a reception in the Rem Koolhaas 2006 Serpentine Pavilion.
Colleagues primarily from Europe and the United States discussed the aims, issues and challenges which we share or which divide us. Forty leading
programmers working in major cultural institutions, as well as in the context of
temporary cultural events were invited.
Public events programmes often take the lead in developing new audiences, increasing
diversity and fostering critical debate. More and more organisations are now appointing
dedicated curators or directors of public programmes. It is a relatively new role with fluid
boundaries. We hope that this think tank will be a chance for professionals from different
cultural situations and with diverse content to think critically about the value of public
programmes and shape the agenda for the future.
Four sessions - Rhetorical Styles, Architecture for Dialogue, Interdisciplinary and
Intercultural Dialogue, and New Technologies - were designed to provoke debates
around issues such as:
· How does environment affect dialogue?
· How do public programmes relate to other curatorial activities and the wider
mission of cultural organisations?
· Are such programmes merely a means for institutions to lend the allure of the
'live' to exhibition programmes or static cultural outputs, designed to help
compete for more diverse audiences?
· What is the nature of research in programming, and what is its value?
· What is the significance of the trend towards artist-driven talks, programmes,
and exhibitions?
· How do different spaces, times and contexts lend themselves to different kinds of
events?
· What of video conferencing, webcasting, online forums, blogs, and e-debate?
Can we imagine a truly international live discussion facilitated by new
technologies?
· Who are the audiences?
Organisers were:
Sophie Howarth, Curator of Public Programmes, Tate Modern, London
David Little, Director of Adult and Academic Programs, MoMA, New York
Sally Tallant, Head of Education and Public Programmes, Serpentine Gallery, London
Dominic Willsdon, Leanne and George Curator of Education and Public Programs, San