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Valerie Coffin Price reports from Est-Nord-Est, an artist-led centre in Quebec, Canada.

Pete Clarke looks back at how the 1999 Biennial in Liverpool, flaws and all, raised some interesting questions that resulted in a new direction for the 2002 event and the shape of things to come.

Neil Zakiewicz profiles the Triangle Arts Trust, celebrating its twentieth anniversary this year.

Louise Short explains the international networks behind the participation of UK artists in this month’s Melbourne Festival.

Every summer the spotlight falls on Norwich and ‘East international’. Arguably the most prestigious open submission exhibition in the UK, curators, dealers and others visit from far and wide and many of today’s well-known artists launched their careers as a result of participation in ‘East’. But what of the artists for whom the city is home? Paul Stone visited Norwich to find out more.

Su Grierson and Diane Maclean report on their activities as co-organisers of Looklook.

Julie Read gives an account of her experience on a residency in the Austrian capital.

This year will be the second ‘Fresh Art’ event at the Business Design Centre in Islington.
Here gallery director and selector Chris Noraika outlines his view on the event’s somewhat controversial status, and some artists tell us of their experiences and expectations.

For artist Emma Baird Murray, Coed Hills Rural Artspace in South Wales has become a place of inspiration, a space where making art, sustainable living and community involvement go hand in hand. She describes how the organisation works with artists in a rural setting.

Malcolm Dickson highlights the issues around the future needs of artists’ organisations in Scotland.

Erik Hagoort profiles the Amsterdam-based independent artists’ information agency – Trans Artists – the latest in our series of developing international partners.

Brendan Fletcher takes a look at how artist-led initiatives, and the Manchester galleries’ willingness to listen have helped shape the current changes in the Manchester art scene.

Paul Bonaventura talks to Tim Eastop, Senior Visual Arts Officer at the Arts Council of England, about a new initiative to create international practice-based opportunities for individual artists.

Clark Dawson meets Chad McCail and Eliza Gilchrist to discuss the furniture recycling workshops they run for young ex-homeless people.

Current committee member and studio resident, Katie Exley explains the organisation’s role in supporting and exhibiting artists from Glasgow and further afield.

David Butler discusses live art support structures and their relevance to other arts sectors.

This month sees the second leg of an international project in Edinburgh. ‘Art in the Home’ will involve artists installing their work in private residences across the city. Here Paul Carter, shares his experience of the first leg of the project in Yamaguchi, Japan.

Moira Jeffrey visits the Scottish Highlands and Islands to see how a bid for European Capital of Culture is affecting artists and art organisations.

The Kamiyama artist in residence programme (KAIR) was established in 1998 by local businessmen, and is supported by schools and cultural institutions, to bring creative energy to a rural community with few cultural resources. Robin Dance gives an account of his participation in the programme in 2000.

Sue Jones, co-director and curator for e-2 explains the organisation’s remit to raise the profile and understanding of digital arts.

The creation of small-scale saleable works is a strategy that many artists may have considered. Here, Brigid Howarth talks to two artists with successful product lines that sit alongside their main practice.

Roxy Walsh, recipient of the Abbey Award in Painting, gives an overview of her time at the British School at Rome (BSR).

A new artist-initiated event took place across Hull during September. Here, David Briers explores how the event fits into the city’s existing arts infrastructure and discusses some of the national and European links it generated.

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.

The trust’s coordinator Leila Dawney explains the organisation’s artist-led ethos and its work to support the arts in Birmingham.