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Kaavous Clayton reports from the InFest: International Artist-Run Culture conference in Vancouver, Canada.

Aikaterini Gegisian profiles The Leleg Institute Project, a platform for collaboration and cultural exchange in Turkey.

Aikaterini Gegisian examines the art scene of south east Europe.

New Delhi isn’t an obvious destination for visual arts practitioners. However, as Judith Staines discovered, scratch the surface and a more interesting picture starts to emerge.

Gothenburg is a sophisticated city – with a population roughly the same as Glasgow, and reminded me of Amsterdam with its bike paths, cafés and friendly atmosphere. There are fabulous parks, and the islands (where cars are banned and the […]

On the West Coast of America, Harrell Fletcher is making history – not in the grandiose sense, but through an approach to art-making that brings out individual voices and stories.

G39’s Chris Brown reports on a stimulating seminar for artist-led initiatives in southwest England.

With a long history of working with artists, Habitat’s art programme provides the opportunity of prime viewing space that acts as a springboard for young artists.

Government enthusiasm for involving young people in arts activities has focused the attention of many galleries. Kate Tregaskis reports from Scotland on recent debates around programmes abroad and raises some questions about good practice.

The UK’s seen a noticeable increase in professional development schemes for artists, encompassing training, mentoring, networking and information services. There is an obvious cross-reference to the government’s endorsement of ‘lifelong learning’ as a principle, encouraged through the offer of individual learning accounts for all. These moves increase opportunities for the kinds of artistic development that incorporates developing and honing skills, accessing facilities and ultimately furthering career strategies. The results are more than just CV embellishment. By providing points of crossover between artists, such schemes contribute to peer support systems and help to address the potential isolation of artists. Here, three individuals involved in artists’ professional development matters describe some of the resources around, and discuss how artists are making the most of them.

A regular visitor to Italy since 1981, when Alan Rogers moved there on a more permanent basis his “youthful, romantic love affair” with its warm Mediterranean light was soon replaced by the realisation that day-to-day conditions for contemporary artists were far from ideal.

The fourth article in this series pays a visit to Copenhagen in Denmark, where Henrik Plenge Jakobsen is immersed in some big issues. “When I think of Western culture I get a mental image of exclusion, particularly in relation to the individual versus society. The concept of ‘liberty’ is hard to transgress. Because of this it becomes easier to limit yourself and your attitudes toward life in general.”

Susannah Thompson discusses ‘Vault 2001’ and considers the implications of visual arts programming within a multi-disciplinary venue.

The rise of independent artist-run spaces across the UK, and a seemingly impenetrable gallery circuit in London, appear poles apart. Gordon Dalton in Edinburgh and Tim Birch in Manchester visit two young, ‘commercially-minded’ spaces that have picked up on this, and are encouraging an art market in exciting and challenging contemporary work outside London.

A recurring issue for artists is the constant search for a suitable space in which to work and exhibit. Artists have increasingly addressed this through improvisation and adaptability, to the point where spaces run by artist collectives have become almost synonymous with formerly disused (or unwanted) spaces. As Malcolm Dickson noted in his comment on artist-run spaces (October issue) – “The motivation now is more pragmatic by necessity, in that you just have to do it in order to get work shown (whether your own or other artists)”.